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r""^HANEY'S TRADE MANUALS^ 




; I O IN , 




PAIlS^TII^a. 




{ 1 



INCLUDING FULL INSTRUCTIONS IN 

FRESCO PA_I]SrTIT^G, 



i I 



AND A VAST AMOUNT OF USEFUL INFORMATION 
DERIVED FROM PRACTICAL EXPERIENCE. 



By S. OIBSOIV, 

PEACTICAL SIGN AND DECORATIVE PAINTEE. 



New York : 
JESSE HANEY & COMPANY, 

OFFICE OF HANEY'S JOURNAL, 
no 1VA.SSAXJ STREET. 

PEICE FIFTY CENTS. 





SECRETS WORTH KNOWING. 

A COMPLETE HAND-BOOK OF USEFUL KNOWLEDGK 

Contains innumerabla receipts for tbe tnaiufaeture of all kiuds of useful articles, 
frcludiug Patent Medicines, Perfumery, Hail Oils, Pomatums, Dyes, Eestorativos 
Powders, Washes, Cements for liUing Teeth. Cosmetics, Toilet Articles, Common 
and Fancy Soaps, Popular Baveragss, iacluiiing a large number of delicious one;-| 
just suiteil to the hot weather, heaUhful and cheap ; Candies of all kinds, Inc'.udinsi 
?.il the new and popular kinds ; Recipes for Eouscteepers, Hundreds of Useful Ar I 
tif^les which aro needed in every household, and a large number of articles thai 
can be manufactured and sold at a good pfC'ai., Tljis is no cheap trash, liko manjJ 
works that have been issued, bat a carci'ully-compiied volume of 100 pages, icj 
neat form for preservation. It will be found of groat value for reference, as yocS 
can find recipes on almost every subject on which you desire to bo posted. Price, 
only 25 cents. A single receipt may prove worth the entire cost of the work. 

The value of this book may bo ju.leed from the fact that single recipes contained 
therein aro sold at from 25 cents to $o, and in somo instances even more. Thou- 
sands of persons are making money by the manufacture ol articles, recipes for 
which will be found m this book ; witness the success of Spalding's Glue, the 
various roofing cements, indcUible inks, cordials, and the iiinuraerablo articles 
which everybody needs and will buy, and which can be manufactured and sold at 
a good prolit. Wo have no wish to exaggerate — we do not offer anyone a " fortune, 
for 25 cents" — but we d ■ oB'or to tell our readers bow things ciu bo made at smallj 
expense, which aro selling every day In all parts of the country for flvo or ten 
times their original cost. A nianof o'lracqua.ntance in this city is making several 
thousand dollars a year by making Lemon ;yr\ii>. " Secrets Worth Knowing" will 
tell you how to make it. Wo might multiply instances, bul have not room. 



"Secrets Worth Knowing." — A neat and wcll-printsd brochure ot some 100 
pages, with this title is before us. It is a receipt book, but occupies a field some-i 
what different from any other work. Though cooking receipts are given they 
form but a small portion of tho contents. Heceipts, in the discretion of the pur- 1 
chaser, are given for almost every Imaginable article, from patent or nou-profes-j 
S'onal medicines to liquid glue, and no doubt largo proDts could be realized by any 
one from tho manufacture of many articles hero enumerated. 1\\q receipts for 
wine-making will do much to aid in substituting hai-mlcss home-made beverages j 
for poisonous " doot!;red" liquors. It is a good book for reference, beinj evident- ' 
ly prepared in good faith, ami should be in the hands of all interested in Its sub- 
ject matter. Uaney & Co., of this city, publish it. — l\ew Vorlcer. \ 

" Secrets Wortd Knowing." — We have received this popular band-book of unl-| 
versal knowledge. It contains over 2,000 valuable receipts. It is also a roliiblej 
guide for the preparation of all ^inds of medicine. The remarkable cheapness oi' 
the work places it within the reach of all. Price, 25 cents. Wm. 0. Hess has it 
for sale. — ColuviOia (l\nin.) •'■pi/. 

" Secrkts Worth Knowi.jg." — A pamphlet with thjg title, containing over 2,000 
recipes for articdes In various branches of manufacture, sonie of them extremely 
valuable, all afforded for the low price of 25 cents, has been published by J. C 
ILiNEY & Co., 1 9 Nassau street, N. Y. — Ll.oi)kbjn Daily Union. 

* • * It contains over 2,000 receipts for making everything that one can con- 
ceive of. It seems to be prepared with great care, and is believed to bo reliable, 
— Tiipeka State lietoid. 

" Secrets Worth K.n-owlno" — Containing over 2,000 valuable receipts for the 
manufacture of articles uf every-day use, anil a reliable guide for the preparation 
of all tho popular Patent Medicines of the day. — Orleari 2't,mes. 

* * * The book should be in the possession of every one. — Hanhcim Sent ml. 

43" The book can be had of any Bookseller or Newsdealer, or we will send • | 
copy, post-paid, to any address, for 25 cents. 

Dealers will And it a quick -selling work. Trade supplied by all wholesale botues. 
Wholesale and retail cash orders will be atteixled to promptly. 



HANEY'S MANUAL 

OF 

SIGN, CARRIAaE, 



AND 

• DECORATIYE PAINTING. 

COJTTAINING 

Rules and Regulations in everything relating to 
the arts op gilding, painting, varnishing, pre- 
PARING Grounds, etc.; together with rules 

FOR MAKING DRYING OiLS, SiZES, JAPANS, 
AND other requisites OF THE ART. 

Also a trEx\.tise upon Contrasts 
Harmony and Force of Co- 
lors, Theory of Compo- 
sition, Groundwore:, ' 
Tints, Shades, and 
1. \ Shadows, with -.t^ut^-ic- , 

FULL INSTRUCTIONS IN PRACTICAL 

FRESCO AND DEGOMTIYE PAINTING. 

ALSO COMPLETE SYSTEM OP 

CARRIAG-E PAINTING-, 

With Numerous Useful and Valuable Recipes, some op 

TIIEJI never before GIVEN TO THE PUBLIC, INCLUDING THE 

Secrets of the Celebrated Birmingham Japajstners. 
JESSE HANEY & CO., PUBLISHERS, 

119 Nassau Street. 






BOOKS FOR PAINTERS AND OTHERS. 



■' It is iKit tlie iiiHiP (injiiitity df ]';iiht aiul ink ounijiribiiig a book which Jeter- 
mines its value, but the nature of its euntents." 



ILVNEY'S PAINTER'S MxlNUAL: 

A praetical work for the profession in gcnerul. To which we have added Prac- 
tical Paper Hanging-, in full 50 cents. 



" I consider this work invaUiablo and indispensable to the person engajicpd in 
Paintinj^r, etc., and write from an experience of more than thirty years." — JOHN 
.SalisuUUY, Newport, R. I. 

" It is a great little volume, and worth its weight in gold." — II. E. IlAI.L, Sauls- 
hurij, West Tennessee. 

For tlie convenience of Painters. Lefterers, and others, we have oonipileil thn 

following li.st, embracing so\ne of llie be,-i I ks for their use. They are all in 

good repute, aud each doubtless contains ^\ hat v, ill prove highly u.seful in some 
cases. 

Set of Alphabets of all the Varimis Hands in Hlodern Use, with Examples 
in each style, designed as a Text Book. A colleoti^jn of most beautiful de- 
signs which will be found of great service both to young and to inexperi- 
enced draftsmen. Tlie mechanical method of constructing letters in various 
styles is illustrated anil described in full, in a clear and deliiiite manner, and 

special attention is paid to ciphers and monograms $3 00 

PaIXTEH, Gn.DEIl AXD VAliXISHER's COMPANION, Containing rules and re- 
gulations in everything relating to the arts of Painting. Gilding, Varnishing 

and Ulass-.Staiuing, with numerous useful and valuable recipes 1 50 

II.^.NDIiOOK OF Oil Painting, for young artists and amafeurs in Oil Painting 2 00 

PUANO's Alpuabets, a collection of plain, ornamental and illuminated '.i 50 

Siiaw'.s Handbook of Meiheval Ai.piiai'.et.s and Devices 7 .50 

Standaud Sign Writer and Lettekeu'.s Companion 2 50 

IiE.\i;iiouN's Texts 2 00 

Scrolls 2 ,50 

r.lcCjLEEs' Alphabets 2 50 



"^5^ Any of the above will be sent, post paid, on receipt of marked price. Ad- 
JESSE HANEY & CO., 119 Nassau street. New York. 



Entered, according to Act of Congress, in the year 18T0, ]iy 

JES.'^E IIANEY .t CO., 

in the office of the Librarian of Congress at Washington. 

Manual of Sign, Carriage and Decorative Painting. 



a . //<r'< 



PREFACE. 



Tee present volume has been prepared by the author in 
the same spirit that ho has, during the past forty years, 
imparted like information to apprentices who have learned 
their trade of him — a desire to aid them, by his instruc- 
tion, to acquire speedily what had required time long and 
experiments for him to obtain. In addition to such instruc- 
tion he presents herewith several valuable recipes and pro- 
fessional secrets which he has become possessed of from 
time to time, and used personally in his profession, but re- 
tained as secrets. During all this time he has practiced 
his art not only with success, but with enthusiasm, which 
is essential to success. 

. Painting, like music, can only be learned by the com- 
bination of ideas from past and present experience. The 
practice and experience of thousands can be called to our 
aid, and no artist, with the true spirit of one, will sliglit 
past experience and attempt to jump into the perfection of 
the present unaided by it. A good, intelligent sign painter 
prepares his miud as he prepares his ground, taking the 
experience of others to build upon, and in this Avay not 
only fits himself to receive a valuable reputation, but at 
the same time does his work with an ease and confidence 
which enables him to work witlx more rapidity than the 
m.erely theoretical and superficial prJntcr can.. 

Too many works on sign and decorative painting have 
been \tublished by those who understand the theory, but 



Vi PREFACE. 

wlio were evidently without practice But the author eon- 
fidently believes that this little mauualwill really benefit 
those whose opportunities have been limited, and a few, 
also, of those who believe they have nothiag more to 
learn. 



PUBLISHERS' NOTE. 



Orii " Paintku's Mantal," wliicli was issued some iiioiitlis 
since, was cl(;sii,'iic'(l to I'liniish in compact form a conipn^liensiv(i 
anil ri'liablo gnido for the ])rofL'Ssion in general. For a tecluii- 
cal work its sale has been considerable, and the very gratifying ex- 
pressions of approval from many practical men, some of long exjteri- 
cnce and nndonbted ability, indicate tliat we have been successful in 
fnrnisliing a useful book at a moderate price, considering its special 
nature and necessarily heavy cost to secure its preparation by com- 
petent hands. Numerous inquiries for works treating more espe- 
cially on Sign, Carriage, and the various branches of Ornamental 
Painting, have induced us to issue tlio jjresent volume. The favor 
with which our series of Tuade Manuals iuive l)een received lias 
stimulated us to renewed ellorts to make eacli volume as good as 
jjossible, and to spare no reasonable expense or labor to secure tliis 
end. Wo feel a confident hope that tlie " Manu.vl of Sign, Cak- 
KIAGE, AND Decor.vtive Paixtixg " will prove as acceptable and 
useful to those specially interested in tliesi! brandies, as has our 
"Painter's M.vnual" to tlie general {jrofcssion. 

Each work is entirely separate and distinct I'roni the other, and 
though both may occasionally touch on the same subjects, eacli author 
has presented his views independently of the other, so that persons 
desirous of obtaining botli i>()oks will not be duplicating tlieir pur- 
chase. 



OP 

Sign; Ciirriiige aiiir gttoratibt |!iunting. 

SIQN PAINTINa. 



Sign" Painting is an art of a very exalted character, 
and when brought to a state of perfection, viz., true color- 
ing, fine, accurate divisions, and proportions duly balanced, 
it is entitled to rank with fresco and landscape painting. 
Indeed, I know of nothing more pleasing to the eye than a 
sign where all the requirements are brought to bear in per- 
fect unison — " a true sense of color in contrast " — a sweet 
harmony of tone, a chasteuessof composition, upon which the 
senses can rest with entire satisfaction. These are the 
points which we wish the reader and learner to attain, and 
which we shall strive to make intelligible and clear. Too 
many men learn and hoard up, like very misers, and too 
many die with the gainings of a lifetime locked in their 
bosoms, rather than give such knowledge to benefit those 
who succeed them. And it may reasonably be sui)posed 
that the arts and sciences are scores of years behind what 
they would have been but for this very selfishness. 

In everyday practice how often do we SL^e attempts made 
at sign painting by those who, through ignorance of the 
first and most essential principles, who know nothing about 
the true method of preparing grounds, the proper propor- 
tibning of the letters, the divisions of distances, parallels, 
contrasts of color, and other requisites to a good or at- 
tractive sign ; how often have we seen such signs attempted 
and become objects of ridicule, even among people who 
knew nothing of the business themselves ? An artistic 
sign is attractive in more ways than one, and an uuartistic 
one is agreeable to none'. 

Before entermg upon the general outline of procedure, it 
will be well to give an outline of the nature and properties 



8 haney's manual of 

of colors employed in sign painting, together -with the oils, 
sizes, varnishes, &c. 

<C O Iv O 1^ @ . 

Red Vermilion. — This is a bright scarlet, a chemical 
compound of mercury and sulphur. The best article now 
in the market is of English manufacture. 

Red Lead.— This is an oxide, of orange tinge, very 
liable to turn black. 

India IIed. — This is an ochre, brought from the East 
Indies ; its shade inclines to purple. It works freely and 
stands well. 

COLCOTHER. — A red oxide of iron. It is often called 
" Indian Red," which is wrong. It is obtained by the dis- 
tillation or calcination of sulphate of iron. The fine color 
inclines more to the scarlet than the purple. It stands well. 

Venetian Red. — A native ochre combined with iron. 
When well washed, to free it from its sandy particles, is a 
fine, mellow, pleasant red. It is very useful, and stands well. 

Red Ochke. — Is yellow ochre calcined as deep as the 
iron it contains will oxidize. A very useful color for shad- 
ing in gold signs, etc. 

Carmine. — The most valualde of that class of colors, 
being the heaviest body-color obtained by the manufacture 
of lake. It is made from cochineal, ]>recipitated by solu- 
tion of tin ; or the best lake from madder, by Sir II. Engle- 
field's process. 

Chrome Yellow. — This is a chromate of lead, and is 
prepared by the following process : Take a solution of 
chromate of potash in hoc water and add another solution 
of acetate of lead (sugar of lead). If wanted very pale 
use a little nitric acid; and if dark shades are required, use 
bi-carbonate of potash, and l)y the addition of a few drops 
of muriatic acid you can deepen the tint down to orange. 

Naples Yellow. — This is prepared by lead and antimony. 
It is much iLsed and stands tolerably well, although of but 
little use to the sign jtainter. 

Yellow Ochke. — This color is a native earth. 8ome 
si)ecimens arc very bright, and all are durable in oil and 
work freely. 



SIGN, CARRIAGE AND DECORATIVE PAIXTIXG. 9 

Terra de Sienna. — This is a brigliter and deeper yel- 
low than most of the other ochres. It is found principally 
in Italy, and is a valuable color. 

TuRPiTH Mineral. — This is brighter in color than any 
other yellow, except king's yellow. It works like veriniliou, 
which it greatly resembles in strength of color, etc. 

King's Yellow. — Is a combination of sulphur and 
arsenic. It is a strong poison, but has a deep, rich color, 
although not durable. 

Blues are principally composed of sulphate of iron and 
prassiate of potash. These blues are generally called 
Prussian blue, Antwerp blue, celestial blue, etc. They arc 
all of a fugitive character in oil. 

Ultramarine. — This is the richest and brightest of all 
blues, but is too expensive to be used in house, sign, or 
ornamental painting, costing usually about twenty-five dol- 
lars per ounce. But a very good and cheap substitute has 
been discovered, manufactured from carbonate of soda, 
sulphur, cobalt and kaoline. It works well and is durable. 

Cobalt. — This is the oxide of cobalt, but its manufac- 
ture is too complicated to describe in this little work. It 
is a beautiful shade of blue, and both works and stands well. 

G 11 E E N S . 

Brunsavick Green — is copper dissolved in a solution 
of muriate of annnouia. It is a good, pure green and 
stands well. 

CiiROME Green. — Green chromium is a compound of bi- 
chromate of potash and flower of sulphur, but the manu- 
facture is too intricate to find a place here. It is a rich and 
splendid green. Chrome green, formed by a union of 
chrome yellow and Prussian blue, can be made of any shade 
by using more or less of one or the other of the colors. 
They are very durable. 

Verdigris. — Copper reduced by a vegetable acid. It 
can be used by the addition of a little chrome yellow. It 
stands well, and is a good color for shading, etc., being 
transparent. 

A beautiful transparent green can be made as follows : 
Pulverize sugar of lead and blue vitriol (sulphate of cop- 



10 HANEY'S MANUAL OF 

per), then put the two dry powders together ; mix them 
well with tbe kuife on a marble slab or glass. The vitriol 
and lead, more or less of either, varies the color, making it 
brighter or darker. This is a beautiful green for glazing 
gold, or anything requiriug a transparent tint. It is durable. 

Schbel's Gkeen. — Arseniate of potash and acetate of 
copper. Beautiful, but poisonous, and should at all times 
be used with extreme caution. 

Emerald Greex. — A composition of yellow arsenic and 
verdigris, A most malignant poison. I iiave known paint- 
ers to spit blood after merely mixing and grinding forty or 
fifty pounds of that mineral, and the taste would not leave 
the mouth for days. Avoid such a color as you value your 
health. 

WHITES. 

Flake VfniTE. — The best formerly came from Italy, 
where the acid of the grape was employed in the manu- 
facture, instead of common acetic acid. It is a pure white 
but liable to change. The flake white made in England 
and Germany retains its ])urity to the end. 

Kremmtze White. — This is simply white, corroded in 
a small scale in '' chambers " instead of l^eing done in 
'' stacks," the old Dutch method. It must consequently be 
free from any sulphate of hydrogen or ammonia, and hence 
its superiority over the others. 

Zinc White.— An oxide of that metal, the result of 
combustion, commonly called '' chemical wool." It is a 
beautiful white, not quite so fall in body as white lead, but 
possessing no affinity for either sulphide of hydrogen or 
ammonia, or any other of the obnoxious gases. It retains 
its brilliant whiteness longer than any white pigment known, 
with the exception of a white prepared from antimony, 
which has, however, never as yet become an article of com- 
merce, 

BLACKS. 

Lamp Black, — The soot collected from ])urniug animal 
or vegetable matter. It should always be calcined before 
using, as it will then dry better and make better color. 



SIGX, CARRIAGE AND DECORATIVE PAII^TING. 11 

ITORT Black.— This beautiful black is prepared by the 
calcination of ivory and boaes in close vessels. It is the 
purest and most valuable color in the sign painting busi- 
ness. 

BROYfNS. 

Umber. — The Turkey umber is the best ; the English 
IS rated second. They are good drying colors. Tu their 
raw state they also class as olive colors, but when calcined 
arc a fine, rich brown. They are good and durable, and 
also very useful to a sign painter. 

Terra de Siexxa. — When burned this is a very rich 
color, much in repute with fresco, sign, and decorative 
painters. It keeps its color well. 

Purple Brown. — This is composed of prussic acid with 
the oxide of copper. It is a very fine color, and produces 
with white very fine lilac tSnts. It is also a good grounding 
color, and stands well. 

AsPHALTUii. — This is a bituminous substance, of a deep, 
rich brown color; transparent, and a good glazing or shad- 
ing gold or any other work. It works well with boiled oil 
or turpentine. It is found on the shores of the Dead Sea 
and in Judea. 

Note. — I would here mention the necessity of procuring 
good, pure linseed oil. This is a very essential point, as 
many of the oils in the market are adulterated with fish 
and animal oils, and are, therefore, entirely unfit for use. 

Patent dryers act very well, if pure, but as they are all 
more or less adulterated with whiting, whit-h imparts a 
toughness which destroys their fluidity or flowing qualities, 
I would advise the artist to make his own. 

Grind either sugar of lead or sulphate of zinc (white 
vitriol) in raw linseed oil, or equal quantities of both to- 
gether. One teaspoonfal will dry from twenty to twenty- 
five pounds of color. This dryer will not injure the most 
delicate color, even the purest white. 



i2 HAXET'S ilAXUAL OF 

DRYING JAPAN. 

This dryer, if of a liropcr duality ami light in color a 
loaspoonful will dry from iwcuty-livo to 'thirty pouiids"of 
color. 

Smalts of various colors are required, and I would here 
state, upon my own experience, that they can be purchased 
better and cheaper than they can be nianuflictored. I would 
adviSG all painters to purchase at any respectable color 
store where their own experience has given them conSdenco. 

A lew more necessaries are required, such as a slab and 
nndler ot white marble, a })a]let knife, ])ots, paint-bruslies, 
etc., etc. Let the brushes range in No.'s from 2 to 30o! 
Also a few tools, commonly called sash-tools, from No. 4 
to S. Flat French tools, various sizes; a few round tools, 
l)ound in tm; also a slock of sable tools, short, medium, 
and^long, to_suit all subjects tiiat may occur. 

Camel-hair tools and pencils are also good, and gener- 
ally lay the color fuier than sable. A bench is also re- 
qun-ed ; an easel ; a set of pallets, of hard wood or ivory • 
a mall stick (a small slender rod of firm wood, with a ball 
of cotton at one end covered with chamois skin ), to support 
the right hand. Some artists discard the mall stick aUc- 
gether, as it liinders a perfect freedom of the pencil, but it 
IS best for oegmners, or any one slightly nervous. 

A rinsing cup is also necessary ; a small tin cup, made 
to hold a!)out a gill. Have a small cup made to fit into 
I he largo one— about one-third as deep— perforated on the 
bottom with small holes ; fill the large cup with turpentine 
imtil It reaches over the ]>erforated bottom of the inner cup; 
rmse the pencils in this, and the refuse color from them will 
settle to the bottom of the large cup, leavim? the turpen- 
tine always clear. They should afterward 'be washed in 
soap and water. 

Having advanced thus far, lay in a small stock of oil, 
turpentme, japan, etc., etc., a small kc- of the best English 
while lead ( " B. B.-"' brand) and then select a suitable board 
lor a sign, and commence 



SIGN"^, CARRIAGE AXD DECORATIVE PAINTIXG. 13 

FIRST OPERATIONS. 

Tlicre are various theories respecting the quality of wood 
to he used, as also in relation to the particular ''cut" of the 
log. Some contend that the ceutcr cut is less lial)lc to 
warp and '• shake," owing to tho grain running squarely 
through. It must bo acknowledged that this theory has 
j)hilosophy in it, and, from my own_ experience, I admit that 
it is a good board. But the outside of a log is best, for two 
reasons, viz. : 

In the first place, the outside cut has been more exposed 
and consequently more thoroughly seasoned. Second, tho 
grain runs through more upon an angle, aud, therefore, not 
so liable io split, shake, or warp. 

You must provide yourself with a can of shellac varnish, 
whicli is sinrply shellac dissolved in alcohol, ar.d reduced to 
a proper consistency to spread easy. The use it is most 
often put to is covering knots aud sappy places that may 
show after the first coat of grounding. 

Another aud a better way to use it is, to give the whole 
board a flowing coat of it, thus making the wholo surface 
equal, and kills any resinous spots, discolorations, etc. The 
best way to serve knots, however, is to bore them out en- 
tirely with a center-bit, boring a trifle outside of tho knot, 
aud an eighth of an inch or so in depth. This being 
stopped with stiff putty, eiTectually disposes of all trou- 
ble arising from knots. 

It is a good idea to have a little '' stout " shellac on pur- 
pose for small knots, as before-mentioned, for in many in- 
stances it will completely obliterate them. Make your own 
shellac, if possible, as it can be more relied upon than tho 
most that is in the market, being gcucrally adulterated 
with soft gum. It not unfrequently occurs ihat the tur- 
pentine aud oil mixes with such shellac, after dissolving it 
.(provided it is not good), but if you make it of shellac alone 
you may depend upon its quality. 

When your shellac is dry mis u]) as much white lead as 
you require, beating it up in oil, stiff; then add your dryers, 
in about the same proportions as already given ; then add a 
little turpentine, just enough to reduce ifc to the proper 
thickness ; then give your sign-board a good, even, full coat. 



14 uaxey's manual of 

When this is dry rub it down with pumice-stone, :<o that 
the surface will be perfectly evea and free from all plane- 
marks. Avoid sand-paper, for it never cuts down a surface 
r;o well as pumice-stone, although it will do for ordinary 
work. Then putty up all holes, etc., with good, stiff putty 
(common putty and vv^hite lead mixed, is good). 

The second coat may be similar to the first, only let 
there be less oil iu it. The third coat must contain still 
less oil ; say one-third oil and two-thirds turpeutine. The 
fourth, or last coat, nmst contain very little oil ; dry with 
drying japan. 

I have found by years of exi)crieiico and observation that 
too much oil is tlie cause of the blistering a)i(l sealing so 
frequently seen npou sign-boards. The fact is vcy;y patent, 
for, as in coach painting, the more oil used the more con- 
traction and expansion ; and, consequently, no other method 
of mixture will stand all exposures, summer, winter, sun- 
shine, and rain, so Vv'ell as the one I have given. 

As we now proceed to consider the most suital)le colors 
and tints for the various grounds, etc., it will be necessary 
to enter into the philosophy of con/rasis and h/irmonics, 
force of color, so as to be able to select proper colors for tlio 
work that is to follow. 

Contrast in its first element may be called black and 
white, and this is confined to light and shadow and the dis- 
position of lines. Though both are necessary in works of 
color, 1 will take it for granted that you understand them 
already, and so pass at once to contrast of colors which 
give the principal charm to painting. 

As the present object is to avoid dullness we shall strive 
to obtain the opposite — l)nghtness, and err, if at all, on the 
credit side, leaving mellowness of tone to follow as a natur- 
al result of an educated eye. 

Force or power does not consis-t iu strong and gay col- 
ors, but is entirely the result of proper combinations and 
contrasts. Two contrasting tones must be brought together 
and then the power of each will be felt. 

Thus, if our gronnds are warm and yellovv' tints, we 
should have blues and purples in contrast. 

If our grounds arc cool, theu reds and yellows are a fine 
contrast. The three principal contrasts are Hue opposite 



SIGN, CAERIAGE AND DECORATIVE PAINTING. 15 

to orange^ red to green, ycJloiv to purple, and by carrying out 
this principle of opposition of color throughout the scale, 
you will obtain an endless variety of contrasts. 

Kemeniber this, a color and its opposite naturally increase 
as they approach, but when once they mingle, they destroy 
and neutralize each other. To give a shadow to a letter, 
the student must be cautioned not to use merely a darker 
shade of color, either of the letter or of the ground, for 
that would only result in a tame, dull effect. Many carry 
this principle into sign painting, and thus lose the advan- 
tage of contrast that an opposite color would give. 

The shadow is to represent a certain modification of at- 
mospheric effect, and will, in almost every iostauce, partake 
of a natural tone or harm.ony of contrast. 

For instance, let a small block of wood be placed upon 
a sign ; paint the block the color you want for your letters 
place it so as to throw a shadow either to the right or the 
left, from the sun, and observe the particular tint of the 
shadow so cast. You will obsei-ve a coniponnd effect or 
tone, proceeding both from the block and from the sign, a 
natural blending of the two. This gives you a true con- 
trast always in harmony. 

Contrasts in great variety can also be had upon the prin- 
ciple of force of color, but there must be a distance left 
between the letter and the shadow, to relieve it, otherwise 
the strong contrasts would appear liarsh and hard. Always 
bear in mind that a sign is not like a picture, to be exam- 
ined at short distances, but generally from fourteen to forty 
and lifty feet from the eye ; consequently the colors used 
must possess sufficient force (although in harmony) to have 
effect at such a distance. 

The same idea is the point to be gained in scenic repre- 
sentations and a study of effect and force of color, as seen 
in stage scenery, is a good one for either student or professor. 

As a general thing you will find that the reds require a 
shadow of a puj-plish or dull brown ; in some cases, where 
the ground admits of it, almost positive black. 

And in yellows, of the umber shade, you will require a 
gradation of golden hues for your first shade, ranging down 
to nearly black. 



16 HAXET'S MANrAL OF 



RULES FOR CONTRASTS. 

Posit ivo and sweet, contracts, such as the following;, may 
1)(! taken as a general idea : 

Light ])ink upcjn a white gnjuud can be best shadowed by 
a warm brovrn. 

Light grays and drab grays shadow witli rich browns. 

For greens, reddish brown shadow. 

White to flesh-cijlor, rich purple shadows. 

As a standard rule, warm shadows to cool, light colors ; 
and cool sluxdows to colors of a warm tint. 

Avoid the nse of greenish blues and greenish yellows ; 
they both ajipear nnsatisfoctory and sickly. 

151ue and yelh)w both become agreeable as they incline 
to red. Red becomes rich as it inclines to IjIuc, and bril- 
liant as it inclines to yellow. 

A shade of i)urple and orange are agreeal)le, but no 
greens except those that incline to yellow. 

All tertiary tints, such as citron, olive, russet, etc., are 
agreeable, and have value by contrast of their own shades. 

tj.jl'ii':m.'01s^' , 

It may bo as well, l>eforo leaving the subject of con- 
trasts, to point out how far harmony affects the sign painter, 
although its principal use has reference to the finished work. 

Harmony is the art of uniting two extremes of light and 
shadow, or of warm and cool colors, by the introduction of 
such intermediate tones as will subdr.e the crudeness of 
effect, caused l)y the use of opposires alone. 13y intro- 
ducing /i(iJf tints which partially unite the dark masses of 
color, when placed between them, their relation to each 
other becomes toned down, and in a measure deprived of 
this rudeness. 

Thus the primary colors, red, yellow, and blue, are op- 
posed or in contrast to the secondai'ics, green, purple, and 
orange, when standing together. l)ut become united and 
harmonized by the friendly introduction of a neutral, placed 
between them. 

This is the case wirh the compound tints, however far 



SIGN, CARRIAGE AND DECORATIYE PAINTING. 17 

removed from tho primary colors, the qualities of color 
being always brought out by harmonious opposition. 

Harmony, then, consists in using such materials between 
these colors or tones that are opposed as may diminish the 
violence of the contrast, and conceal the aim of the jiainter 
in bringing them together. If tins is not done, the attempt 
and not tbo deed will confound nut only the painter but the 
reader of his sign. 

Harmony, then, is simply that expedient which the force 
of contrasts compels us to adopt, and is useful to this ex- 
tent — that by it we secure that force without which our 
work would be either too tame or too harsh. It is really 
the golden link in composition. 

In describing tho mixtures of colors and tints, all that is 
necessary is to exercise due caution in applying them to 
your lead or zinc that you have beat up in oil, being care- 
ful not to mix too thin, for by so doing you will find it a 
difficult matter to bring your color to a true assimilation. 

As some colors are light and others heavy, you will see 
the necessity of keeping your color stiif ; and always thin 
your tinting-colors ; and always put in the color which is to 
predominate, or give the general tone, first, and until you 
see that you have enough, then add the others, if any, to 
the mixture until you have obtained the reijuired shade. 

TABLE OF TINTS, 

Gray, — White and lamp black. 

Buff. — White, red, yellow, an'd a little black. 

Pearl, — White, ultramarine blue, and carmine. 

Orange. — Yellow and red. 

Violet. — White, ultramarine blue, and carmine. 

Purple. — Same as above, only in different quantities. 

Gold. — White, stone ochre, and a little burnt umber. 

Oliye. — White, yellow, black, ami red. 

Chestnut. — Red, black and yellow. 

Flesh. — Vermilion, white, and yellov*^. 

Fawn. — White, red, yellow, burnt umber. 

Draij. — White, yellow, red, burnt aud raw umber. 

Do. — Ochre, burnt sienna, lilack. 

Do. — Any variety can be obtauaed l)y these colors. 



18 haney's manual of 

■ Brown Green. — Chrorac green, yellow, black, and 
red. 

Pea Green. — Chrome o-rcen Avith white lead. 

Rose Tint. — Carmiue and white, or madder lake and 
white. 

Copper. — Red, chrome, yellow, and black. 

LEiiON. — Pale chrome and white. 

Claret. — Vermilion and blue. 

Dote Color. — White, vermilion, blue, yellow. 

Pinks. — White, vermilion, madder lake or carmine. 

Cream. — White and pale yellow ochre. 

Salmon. — White, light red, and yellow. 

Straw. — Chrome or yellow ochre and white. 

Lilac. — Carmiue, blue, and white. 

These constitute tiie principal tiuts in general use, but 
by practice in composition, a great variet}" more can be ob- 
tained . 

Having proceeded tiius far let us now turn our attention to 

L E T T li: It S , 

their proportion, etc., and take as an alphabet the most 
beautiful one the world ever knew — the Roman. 

The Roman Italics differ from the capitals only by being 
slightly inclined from a perpendicular, and tbis inclination 
should not vary much from an angle of sixty degrees, al- 
though natural taste has much to do v.'itli governing it. 

The letter A is generally formed with more faults than 
any other in the alphabet, and in nine cases out of ten it is 
occasioned by spreading its angles too much. It should 
not be wider than li or N, hair lines included. 

The upper part of B, E, F, and R should take up a par- 
ticle less space on the main line of each letter than the 
lower part, and the upper, horizontal projecting curve of 
B and R should in the same proportion be a trifle the 
smallest. 

The connecting bar of the letter H should be a Irifle 
above the center of the letter. 

The perpendicular width of the curve for P should lake 
up just half the length of the main limb of that letter. 

The bottom curve of J is allowed ;■ handsome sweep, so 



SIGNj CARRIAGE AND DECORATIYE PAINTING. 19 

that the projecting horizontal line at its top and its curve 
will occupy the 8amo space as G or S. 

The upper curve of S should be smaller than the lower 
curve, and for this reason — the bottom of all letters should as 
uear as possible form the base of their apparent structure. 

The middle top line of AV is dispensed with, and that 
center lim.b terminates in a peak or point. 

To form a curve to the last of 11 is preferable to a flat, 
straight termination, provided the curve be made full, and 
the letter seems to stand firm. 

The last limb of G should terminate at seven-sixteenths 
of its hight, or a little less than half its bight. 

Eight letters, B, D, E, G, 0, P, Q, and T, will oc- 
cupy the same space from left to right as they do in 
hight. 

Six letters, C, F, J, L, S, and Z, will take one-sixteenth 
less width than higlit. 

M and W, one-sixteenth more' width than hight. 

I, one-half its hight wide. 

If two lines are drawn upon a sign or sheet of paper, 
say half an inch apart, auvl eight compartments set off, 
half an inch square, B, D, E, G, 0, P, Q, and T, each 
will fill one square and be well-proportioned letters. 

Then divide off six compai-tments, one-sixteenth part 
narrower than they are high, for C, V, J, L, S, and Z. 

Then make nine compartments, one-sixteenth wider than 
they arc high, for A, H, K, N, R, U, V, X, and Y. 

For M and W, allow one-sixteenth more width than 
hight ; for I, one-half its bight ; for &, one-eighth more 
width than bight. 

These proportions will form a very graceful letter, but 
they can bo either compressed or extended from this rule so 
as to suit both taste and space. 

The small letters are more difficult to form than the 
large ones. The main body of thirteen letters, viz., a, b, 
d, g, h, r, n, p, q, u, v, x, and y, will occupy a square each. 

The letters c, c, o, r, s, t, and y, require one-sixteenth 
less width than hight ; i and I, out; half their hight in 
width. 

These relative proportions are given without the pro- 
jecting limbs above and below their main body, which [)ro- 



20 IIAXEYS MANUAL OF 

jec'tioiis sliouh] l)o oiK'-balC Ihc h\ght of the main body of 
the letter. 

The proportions f./r I/allcs are as follows: 

Seven capitals, C, G, J, E, O. Q, and S, occupy a 
sijuare. 

Sixteen letters, A, P., D, E. E, II, X, N, P, Pv, T, U, V, 
Y, Z, require one-sixteenth more width than higbt; M, 
three-sixteenths wider than high ; W, two-sixteenths wider 
than high ; and I, one-sixteenth less ; with a given angle of 
from sixty to sixty-three degrees. 

In the small al|)habet, seven letters, viz., a, i, k, r, s, t, 
V, will occupy a square each, subject to the same rule re- 
garding their projecting parts as given for the others, the 
small Uoman letters. 

Thirteen letters, h, d, f. g, h. j, n. p, q. n. x, y, z. will 
occupy one-quarter more width iliaii highi ; m, two-fifths 
more width than higlit. 

It may be observed here that the block-letter alphabet 
is of about the same proportion of hight and width as the 
Poman ca])itals do, exce])t in extra full lettering, for which 
]n-oportions the additional Ihickness of the body of the letter 
must be added to the rules given in relation to the lloujan. 

All the-'-e letters are only varieties of those given above, 
and are left to the taste of the painter. I^ractice, with the 
rules already given, will unfold much that cannot be writ- 
icn, and much that can only l)e attained by experience. 

I'ractice what has thus far l)een given, and then we will 
go one degree higher, to the consideration (if 

o I j^ i> I rv ci' . 

Before considering this brancli oi" the sign-painter's art 
it will be best to treat upon the various sizes in general use 
among them. And here 1 wish to guard the uninitiated 
against the use of gold size, sold at most of the color stores. 
They are generally got up from recijies ])ublished by men 
who are totally ignorant of the nature and i)roperties of a 
permanent gilding size. My own experience amply con- 
rirms this assertion. 

Let every paint.'r make his own size, and tlicn he will be 
less likely to be a stranger (o what lie wauls. If it be too 



SIGK, CARRTAGK AXD DECORATIVE PAINTING. 21 

slow in drying, or if it dries too quicldy, he will ho able to 
know what is required to nmko it right. 

An excellent size is made by putting boiled oil in a good 
stone pot ; place it upon a slow fire, and let it rise to such 
a heat as nearly to ignite; then with a match or a bit of 
lighted paper set fire to it, and let it burn for a few minutes, 
so as to thicken ; then take a piece of cloth and cover the 
pot, to put out the flame, and it will then be like syrup or 
thin tar. 

This done, strain it through a silk stocking or handker- 
chief into a bottle and keep it closely corked. When you 
wish to use it, thin it with turpentine, but be careful and 
not use it too thin. 

ANOTHER RECIPE. 

Another good size for gilding may be made in this way : 
Procure some pure old drying oil, the older the better'; 
grind into it some ochre and a little of the best quality of 
red lead ; then thin it to a proper consistency ; form your 
letters carefully, laying it very even and thin, and let your 
work stand until so dry as only to have sufficient " tack " 
to hold your leaf. Apply the leaf with a gilder's tip 
carefully and lay it smooth with a flat camel-hair brush 
or a ball of fino cotton wool, but do not brush off all 
the superfluous gold until you arc sure that the under size 
is perfectly dry and hard. This gives the gold its full 
brilliancy and stands the weather well. 

QUICK DRYING SIZE. 

Take a little good, quick-drying copal varnish; add to it 
a small quantity of your old l)oilcd drying oil, just enough 
to give it '' tack," and when dry enough lay your leaf as 
before directed. 

A SIZE KNOWN TO BUT FEW. 

Take one pound of good, pure drying oil ; put it in a 
metal pot with a cover; slowly add to this, after it has 
come almost to a boiling point, four ounces of pure gum 
animi (^not copal ; gum dealers are of the opinion generally 



22 nxVNET'S MANUA]. 0? 

lliai: anitni and (■o])al aro oiio and the saine, 'out such is not 
Ihe case). Have your auimi reduced to a fine powder; 
iuke it upon tlie point of ytnir pallet-knife and put it in cau- 
tiously, little by little, until you have it all in, allowing 
time to dissolve, and all the while keep stirring the mixture. 
Boil to the consistency of tar, and while warm strain it 
through a piece of silk into a heated, wide-mouthed bottle ; 
keep well corked, and when required, thin Vv'ith turpentine 
and mix thoroughly. If you grind a little vermilion with 
this size it will show you v;hat yon are doing when using 
it. 

This size will gild on glass, china, metal, signs, and 
nearly everything, and if properly made has no equal ; being 
more durable, it gives more luster to the gold than any other 
size, and has the very singular property of retaining the 
" tack " longer than any size known. 

This is the '* secret size," used by the best artists in Lon- 
don and Paris, and the one used by the justly celebrated 
japanners of Birmingham, who produce the finest work in 
decoration to be found in the WM)rld's market. 

The artist must be furnished with a gilder's cushion, with 
])a!-chment back and ends ; a knife to cut liis gold ; a " tip," 
or l)rush, to lift his leaf with ; a ball of cotton wool, and a 
fiat camel-hair ijrush to clean off with. 

Take a little clean tallow on the back of the left hand, 
and then draw the '"tip" quietly over the tallow and it will 
receive enough to take up the gold. Then place it lightly 
upon the work, to which it will adhere readily, and so con- 
tinue until all your sized work has l)eeu covered witli it. 

The next thing to do is to pad it down lightly with your 
cotton ball, being careful to omit no portion of it, for if a 
mistake occurs on the first going over, you will find it very 
difficult to mend it afterward. 80 b(! particular in your 
work and miss no part of it. As before stated, do not 
thoroughly brush off your work until entirely dry. 

Always, when gilding, try your size upon a piece of 
painted 'l)oard or glass, in order to d(!termine accurately the 
length of time it requires to dry. If it dries too quick, add 
some oil. If you size to-day and gild to-morrow, and 
should you find the size too dry in the morning, you will 
have to add a little old, fiit, raw linseed oil, as this tempers 



SIGN, CARRIAGE AXD DECORATIYE TAINTING. 23 

it SO that you can set your own tirae for the gilding. A few 
experiments in this connection will enable you to master and 
regulate the nature and operation of size 

FOR A SIZE EXPOSED TO THE WEATHER. 

One tiling has been proved by experience, tliat is, that 
no gilding exposed to the extremes of summer and winter, 
wet and dry, cloud and simshine, should ever he varnished. 

The bare gold, if good, and on good size, will stand bet- 
ter, change less, retain its luster longer, with less liability 
to ^'dulce," or crack, than when varnished, although done 
with the best copal varnish ever made. 

I have seen a sign done with gold, upon a black ground, 
that had stood the weather ./or/// ?/r<'/r5.' The board had 
given way to the effects of the weather, and had fallen 
away in many places, leaving the letters standing out bold 
in good form and well preserved. So much for good si»e 
and no varnish. 

DRYING OILS. 

It may not be out of place to give, at this point, a few 
formulas for preparing drying oils, as many of the oils sold 
at the stores are of a spurious character, totally unfit for 
the development of good work. 

A fine, pale drying oil can be made as follows : Take eight 
pounds of linseed oil, one ounce of calcined white lead, one 
ounce of yellow acetate of lead (also calcined slightly), one 
ounce of sulphate of zinc (white vitriol), twelve ounces of 
vitrious oxide of lead (litharge), and one head of garlic. 
When the dry substances are pulverized mix them with the 
garlic and oil over a fire hot enough to keep the garlic and 
oil in a state of ebullition ; continue the process until the 
oil ceases to throw off scum, and until it assumes a reddish 
color and the head of garlic becomes brown. 

A pellicle will then be formed upon the surface of the 
mixturi-, which indicates that the operation is completed. 

Take the vessel from the fire, and ilie ])ellicle being pre- 
cipitated by rest, will carry with it all the parts which ren- 
dered the oil fat. When the oil has become clear, separate 



24 haxky's }.r.\>:TTAL OF 

it from the deposit- and jdaco in wido-niouthod Ixittles, where 
it will completely clarify itself in a short lime and im- 
ju'ove in quality. 

'J'he oil will bo lis^'hter in e;>l(ir if the dryers arc jiut into 
a bag and suspended by a cord fastened to a stick laid across 
the mouth of the bottle ; but you must use more dryers if 
you wish to adopt this method ; in other respects operate 
as described. 

To manufacture drying oil without heat: When linseed 
oil is carefully agitated with wliite vinegar of lead (tribasic 
acetate of lead) and the mixture allowed to clear by set- 
tling, a copious, white, cloudy precipitate forms containing 
oxide of lead, wliile the oil is converted into a drying oil 
of a pale, straw color, which makes an excellent strong dry- 
ing oil or varnish, which ought to dry in about twenty-four 
hours. It contains from four to five I'-er cent, of oxide of 
lead in solution. 

THE BEST ITIOCESS. 

The following proportions appear to be the most advan- 
tageous for a preparation of drying oil : 

In a bottle containing four and a half pints of rain water 
put eighteen (mnces of neutral acetate of lead, and when 
the solution is complete put in eighteen ounces of litharge, 
in a very fine powder, 'i'he whole is then allowed to stand 
in a moderately warm i)lace, frequently agitating it to assist 
the solution. This prepai-ation may be considered complete 
when no more small scales of the litharge are apparent. 

The deposit of a shining white color (sex basic acetate of 
lead) may be separated by fdtration. This conversion of a 
neutral acetate of lead into vinegar of lead, by means of 
litharge and water is etfected in about a quarter of an hour, 
if the mixture be heated to cl)ullition. Wlu-n heat is not 
applied the process will take from three to four days. The 
solution of vinegar of lead thnsformed is sufficient for the pre- 
paration of twenty-two jjonudsor three galions of drying oil. 

For this p«rpose the soluticm is diluted with an equal 
amount of rain v/ater, and to it is gradually added, with 
casual agitation, twenty-two pounds of oil, with which 
eighteen ounces of litharge have been previously mixed. 



SIGiVj CARRIAGE AND DECORATIYE PAINTIXG. 25 

When the points of contact between the lead solution and 
the oil have been frequently renewed by agitation of the 
mixture (three or four times per day), and the mixture is 
allowed to settle in a warm place, a limpid, si raw-colored 
oil rises to the surface, leaving a copious white deposit. 

The watery solution, rendered clear by tiltratiou, con- 
tains intact all the acetate of lead originally employed, and 
which may be used in the next operation, after the addition 
to it as before, of eighteen ounces of litharge. By filtra- 
tion through paper or cotton, the oil may be obtained as 
limpid as water, and it can also 1)c bleached by exposure in 
the sun. 

If this oil requires to be absolutely free from lead, it may 
be so rendered by the addition of dilute sulphuric acid to 
the above, when, on being allowed to stand, a deposit of 
.sulphate of lead will take place, and the clear oil may be 
obtained, free from all traces of lead. 

ZINC DRYEE. 

This dryer is prepared from the oxide of manganese and 
raw linseed oil. 

The manganese is broken into pieces as small as peas, 
dried, and the powder separated by a sieve. The fragments 
are then placed in a bag made o^ iron wire gauze — this to 
hang in the oil contained in the iron or copper vessel- - 
and the whole heated gently for twenty-four or lliirty-six 
hours. 

The oil, however, nmst not be allowed to boil, for there 
is great danger of its running over. When tlie oil has 
acquired a reddish color it is to be poured into an appropri- 
ate vessel to clear. 

For one hnudred ]tarts of oil, ten parts of manganese 
may be employed, and which will serve for several oper- 
ations when freshly broken and the dust separated. 

Experience has shown that when fresh oxide of mangan- 
ese is employed, it is better to introduce it into the oil on 
the second day. The process occupies a longer time with the 
fresh oxide. Very great care is required to prevent acci- 
dent, and one of the jirincij)n] ]mnx< to be observed is that 
the oil bo not overheated. If (he boiliu'j: should render the 



26 IIAXEY'S MANUAL OF 

oil too Ihic.lc, iliis may bo renietlied liy au acluUion of Ivir- 
])('iiliii(', after it luis tliorouj^'lily cooled. 

COLD-MADE DRYING OIL FOR ORDINARY 
PURPOSES. 

Pour ounces of litliarije to ihe gallon. Stir it often, and 
allow it to settle. Pour oif carefully, and you have a good, 
clear, dryiiig oil. 

Any of the drying oils described' will work and stand 
well, if you u-u; siiflicienl turi)entinc in the mixing, and you 
will thereby be able to dis])eiiKe with raw oil and japan 
dryer.'J. If yon wish to hurry up your work a little drying 
jai)an can be used. 

c«ix^i>i."\'<:i- <:>r<^ <.i-i^j\.H^. 

This beautiful art is worked in many difierciit ways, every 
artist, having his own peculiar method. 

One very good way is to iirst outline WMt.h a jiiece of hard 
soap, your letters, scrolls, etc., (on the outside) then com- 
mence to outline on the glass (inside) with some suit- 
able color, a light shade line for the top and left side of the 
letter; then upon the bottom and right side of them use a 
bhu-k, or. in fact, almost, any color you may select, ^\'hen 
dry [)r()eeed to lay on your gold. 

Soini! use gin, some whisky, others siniply water ; gum 
arable in solution, white of t'iXii\ uiay b- used. One can 
merely breathe nixm the glass and it will sometimes answer 
till! purpose (>f a " tack'' for the gold. 

1 have found an excellent size, made from a solution of 
gum tragacanth in water. The Iirst part that dissolves is 
the ]»art that suits best ; that ])ortion being pure, while the 
residue is cloudy and uutit for use. 

When wanted to use, reduce a ]'ortion of the gum with 
water to a v.'ry vreak standard, as in all cases you will tiud 
your gildimr bright in exact ratio to the tliinness and trans- 
parency of your size. 1 consider this the most desirable 
sij^e, es])eciall\' for large work. 



SIGN, CARIIIAGE AND DECORATI\'i: rATNTIXU. 27 

First jMethotl. — Draw your lines upon tlie glass at the 
proper distaucos for the size of your letters, etc., witii a 
piece of hard soap, which will make very distinct lines. 
Then form your letters accurately, and in true distances or 
space, cue from the other, being satisfied that all your pro- 
portions, etc., are correct. You will now bo ready to com- 
mence your gilding. 

Second JMethod. — Ilaveyciir let tors, etc. .drawn ou ion fine 
paper ; prick with a pin the outlines of your letters, scrolls, 
etc. Next take a bag made of muslin, filled with fine ]>ow- 
dered cliarcoal 5 lay the paper carefully to its i)roper place ; 
ihcu pounce the charcoal bag against Ihc paper, and you 
can then trace the outlines in full with black japan. To 
make all secure it will bo r.eccssary to give the work 
two or three coats, and when dry, wasli or rub oil" all super- 
fluities with a sponge or soft cotton rag. 

N. B. — This method is only used after gilding, where the 
leaf is placed full with.out any outline. 

Third Method. — To get accurate lines upon glass, pre- 
paratory to gilding. In the first place, clean the glass 
thorougldy ; then witli a mixture of whiting, water, and a 
little milk, brush carefully all over the outside of the glass. 
V/hen dry, draw your i>arallel lines, letters, scrolls, etc., with 
a pointed stick. 

For small work, turn the glass around, <ind letter back- 
ward. If inside of a window, work upon the same prin- 
ciple. This is an easy and a true method of forming your 
lettering or ornamentation, a-< any fault in the drawing can 
be easily corrected. 

MODUS OPERANDI FOil OILDINC OX (JLASS. 

Whichever size you agree upon, lay it on vrilh a full jien- 

cil, and proc(>ed with your gold at once, so as to secure a 

solid "cover" without being obliged to "touch up," and if 

on wish to use two coats of gold, blow your breath upon 

I he first coat to hold the second. 

Lay as much gold as possible befon' your sizi' dries, and 
i-o [tnK'ccd Uiiiil Vuur lines are finished. Then nu> il down 



28 iiaxey's manual of 

.ucnily lo ivniovo llic ^npcrfluonR pilcl. Tlien jiroropd to 
ouiliiio as in second metliod aliovo ; or draw vdiir parallel 
lines llinmgh the fj^ildini>- (if in capitals of one, given length) 
and cut in your letters with Mack japan very carefully, 
forming them all backward. This is the i)rinciplc of the 
first method, but it requires considerable practice to do it 
correctly. 

If any ornament is wanted in the Ixidy of the letters, lay 
them in with oil size. "When dry, gild and shade if re- 
(juired. When all is dry, lay in tlu; entire letter with the 
size (spirit or water size) and gild and bad:, as above, viz. : 
with two or three coats of black jai>an. 

The shading is done afterward, and in a.ny colors the 
artist may decide ujion. It generally takes two coats to 
<'Over solid upon glass. 

Gilding n]>on glass re(inires great practice and very nice 
liandling. lait v.i:!i prop<'r caie. ihis })rocess looks very beau- 
tiful and stands well. 

•Silver leaf is laid on in the same manner, only it requires 
a little stronger size than the gold calls for. The .silver 
being heavier relatively, use the size of gum tragacanth. 

One point seems lather didicult — that of liaving to form 
the letters baclvward. but jiractice is the only thing that 
will make perfect in this respect, and enough of it will make, 
what at, first seems a dillicnlty, as easy as the ibrmutiou of 
letters in the ordinary way. 

Have a board made of any convenient size, and have a 
projecting band or molding around it. Then cut hito the 
band grooves the thickness of a liaiidsaAv, an inch apart, 
allowing each cut to reach to the bottom of the band. In 
each of thes(! slots insert strips of tin, just wide enough to 
fill the entire shst, and long enough to reach entirely across 
the sign b()ard. 

When all fitted, take them out and ])lace them edge to 
edge upon a flat surface, and paint any word you like upon 
tbeir combined surface. When dry, reverse and paint other 
words upon the other side. 

Next i>;iint any word:; yiui please; upon the surface of the 



SIGK, CARPxIAfiE AXI) PECORATIYE TATNTIXf;. 29 

sign bonrd, and, wlicn dry, again insert 1lic strips of tin into 
the slots in tlie board, taking tliem np in tlie same order 
in which tl)ey lay when painted upon. 

This is really a magical sign (three signs, in fact), and 
changes as the observer changes his position, at one angle 
showing one tbing, and at another quite a different one. 
They arc coming much in use now-a-days, and it is a good 
branch of the art to make one's self iicrfect in. 

Draw your letters on paper to suit your sheet of tin, 
having first cleaned it with diluted alcolnd and a ])iecc of 
cotton. This will remove any grease or other matter that 
might hold tiie gold. Then take some wliiting and rub it 
over the back of the paper upon which your design is made 
and lay it upon the japanned tin. 

Place a weight upon the four corners of Ihc paper, or 
otherwise fix it securely to the tin ; then, with a fine point- 
ed piece of hard wood, trace the design carefully, bearing 
upon the paper with the point just hard enough to cause 
the whiting on the under side of the paper to adhere to the 
tin, and after going carefully over the whole, you will have 
transferred the entire design in fine white outline to the tin 
you arc to finish it u]?on. 

Then size with either quick or slow drying oil size, and, 
when sufficiently dry for gilding, lay dii tlie gold leaf, and 
"bat" it down thoroughly, alterward brushing off with 
your flat camel-hair brush or cotton. 

There is a difference between shading and shadows. 
Shading a letter is simply making an artificial representa- 
tion of a raised letter, and consequently requires a light 
fine shade upon the top and left side of the letter, and a 
dark one upon the bottom and right side. 

These shades will have the effect of raising (he letter, 
but the decejition is incomplete witliout the shadow. This 
is to be attained by representing a shadow cast by the 
painted object, and should always be of one uniform color : 
dark, but very thin. A mere glaze, as it were, composed 



■'iO nAXET'S AfAXFAL OF 

<.f ivory l)lacic, A'andxkc lu-owii, raw iuu\ ])nr;it nraitcr, as- 
]ilialtura, etc. 

Always kee;) ia vievvMlio tone (.I'lhc pToniid, for ihat lia.s 
ail lu do v;ith choosin.u' the most natural sluulow, as slated 
lielure. The ahove ormmeraied colors, Ity jndlcloiis and 
Aveli balanced composlliou, will yield an exeellent shadow 
to suit any trronud. 

In shadint": letters, consideralVie judgment is necessary, 
as some of the al})habet requires less shade than others, for 
this reason : a ]ioriion of tliem would be filled np too ninch 
if the shade was of niiiforni v.-eight. ]5, S, K, (J, aiul N, 
the body angles of whieii do not admiL of so heavy a shade 
as ix'rpendicular or bottom letters. 

It is very general with sign painters to make the bottom 
shades a tritle heavier than the perix'ndieulars, and fortius 
reason : the sun casts a heavier shade to the bottom in 
P'roportion to the ajigle of light, and for this reason a heav- 
ier shade is demanded. 

In regard to the formation of letters, ouf^ rule v>ill hold 
good in all respects, a.t least so far as IJoman letters are 
e;)ncerned; in ease you do not wish to j)aint them square — 
as wide as they are high — din)inish the width in exact ratio 
to the increase of the higlu, and rin; vcrsn. 

^ rAixTiX(; OX ('i/)Tir ok silk. 

For ^[asonie or Oddfellow's apnms. batmers, or any 
work of like nainre, a few words may 1)C useful. 

First have your material ])ut it])on a stretcher, and the;i. 
complete your lettering and disign. Prepare a size as fol- 
lows : J)issolve bleached shellae in alcohol, and thin as 
much as will cover thc])arts to be painted or gilded, using 
the ])reeaution to cut over tlie outline a little, so as to pre- 
vent th.e color from spu-eading. 

Another size may be jtrepared by simply nsing ihewliite 
of an o<xg. This size will do where the wm'k is not ex- 
posed to the weather, or VN'hen it is required to 1)0 done 
qnickly; and for such work, wh.ere gilding is to be d(nie, 
lay the gold while the size is wet, and when dry, dust oil' 
the surplus gold and proceed with the painting, shading; 
etc., when you are sure that the size is dry, remember. 



FJO.V, CARRIACiE AND DEf'OnATITr; PAIN-Tiyc. .': ! 

SIZE FOR BROXZIXG. 

A gcotl size for bronzing, or palo gilding, is a niixlure of 
aspbaltum, drying oil, and spirits of turpentine. 

A size for gilding on cloth, silk, plaster, etc., is made as 
follows : Take a little honey, combined witb tbick glue. 
When reduced properl\', this size lias tbe effect of briglit- 
eniug tbe color of tbe gold leaf, sticking to it well and giv- 
ing it a very fine luster. 

VARNISHES FOR SIGN WORK 

Tbe artist bas already been cautioned against ibe use of 
varnish for gilt signs ; but there can bo no doubt that tiie 
varnish not only improves, but is actually necessary npon 
a sign where the decorative or ornamental style is intro- 
duced. Varnish bas the effect of bringing out the force of 
colors; brings them to their true tone, and gives tbe artist 
an opportimity to be judged on bis merits;, relative to har- 
mony, contrast, and force. 

For this reason, considerable care must be taken in se- 
lecting a suitable, durable vambsh for this purpose. 

An excellent varnish for sign jiainters may be made as 
follows : To eight i)ounds of best African copal, add two 
gallons of pure, clarified, crying linseed oil, lialf a pound 
of sugar of lead (acetate), three and a half gallons of tur- 
pentine. 

Boil tlio copal in the oil very SiOwly, for frcun four to five 
hours, until quite stringy; then allow it to cool to about 
130 degrees F. ; afterward add three and a half gallons 
of turi)entiue at the same temperature. ^lix well, and 
strain into cistern or tank. This makes a slow-drying 
elastic varnish, not liable to crack by any out-door expos- 
ure. 

QUICK DRYING VARNISH. 

''■ Japanner's gold si.^e," or quick drying varnish, may be 
made in this manner : 

Eight pounds gum animi, half a jiound dried sugar of 
lead, two galhms of clarified drying oil, three and a half 
gallons of tur!>entiue. 



32 ITAXKV';; /.i.wt'al or 

Boil for foni- hours, strain, olc, as abnvo. 

Use Olio ])ot (if this vaniisli to two of the former kind, 
tlio slow (Irving'. 'J'liis iiiixluro will dry in about four 
liours in siumncr and six in Vvintcr. 

This fjuick dryiuj.'; varnish makes a (rood dryer for deli- 
cate colors ; about a dessort-sp(;oiiful to twenty-five i)ounds 
of color being a fair iiroportion. 

Should thu artist not wish to nuinufacture liis own var- 
nish, let him avoid buying- any cheap article, but inquire 
for '' slow drying, body copal varnish," and also for the 
best drying- ja])an, so tbat if re(juired to varuish a y)iece of 
work that is wanted to dry (luick, he can do so by adding a 
little of the jajjau. 

M 1 S( ,'E L L A XEO U.-^ JIV.CE I I^TS. 

To Cleax Old Sh;x ]:Oai;d.S. — Urush over the face 
of (he board with warm alcohol, and re]>eat two or three 
times if necessary, after ^\hich the '• smalt will come off 
easily^ by the use of a dull chisel or an old jjlaiie-iron. Care 
should be taken not to cut into the surface, as such places 
are hard to patch u[) again. 

Anotiikr ^EkthoI). — Take tlircc and a half pounds of 
stone linu% two pounds pearl-ash, two ounces soft soap, 
three ounces of ammonia, ^^lack the lime, then add the 
soft soap. Jt nuiy retjuire a little water to form a jiaste ; 
then add the ])earl-ash and the li(|uor of ammonia. Keep 
in a close-stopped, wide-mouthed bottle, or stone jar, with 
a little v.-ater, like paint. This mixture, when laid on a 
sign o!' any old ])iece (;f painting, will soften it so that it 
will wash off witli the utmost ease. 

S'i'iLb AxoTiiiiK T\Ii;tiioi). — Lay your work top up, and 
go over it with turpentine : set fire to it, and the old paint 
will soften up. and v;ith an old chisel ov a piece vi' flat, 
sliarpened v.'ood yo;i can si'rape cfi' (he (ild color with ])er- 
fect case. The best way of doing this is to cover a foot 
or so at it lime v.'ilii tiie (urfientine. and ))roceed as above. 
TIk-u rub off with pumice and v.'ater. 



SIGX, CAKEIAGE AND DECORATIVE PAIXTIXG. 33 

TO LAY SMALT GROUNDS. 

Mix yonr color as uear as possible to the ilesircd shatle 
to suit the smalt ; mix with strong drying oil, not too thin; 
then cut round your letters, serolls, etc. ; with a fitch and 
sash tool fill in all the spaces ; then witli smalt dust all the 
surface, taking care to ])ut n:!ore tlian enough on, so as to 
allow the " oil ground " to absorb all it possibly can. 
When dry (usually the next day) turn your signs on end. 
or on the side, and all the surplus smalt can be brushed oft" 
and saved. A small wire sieve is good for straining smalts. 

Some printers shade their letters first, that is, before 
smalting, which is the neatest way for fine or small work ; 
but for large signs it will have a better elTcct to shade the 
letters after smalting. Mix the shading color with very 
little oil, mostly japan and turpentine, and draw with short 
quill tools or Frencli fitches. 

FLOCKS. 

Flocks are laid upon the same princiide. These 
grounds are very beautiful and chaste looking, but Ihey are 
very unsuitable for signs that aro ex]ioscd to the weather, 
as the colors do not stand any length of time, black l)cing 
llio only one that can be depended on. 

Instead of smalts, colored sands are sometimes used. 
These retain their colors well, and if taste is displayed in 
arranging the hue and tints, very beautiful work can be 
produced. 

FACING PUTTY Foil SIGNS. 

Facing putty for signs that aro to be gilded may be 
made in this way : Take a little fine whiting, a very little 
drying oil, japan dryx'rs, and beat all up to a reasonable 
stiffness. AVith this mend all the inequalities with a square- 
ended knife. This putty will harden very rapidly and dries 
without any shrinkage, tack, or softness. In mixing, use 
more japan than oil, say two-thirds japan. 



SI nAXEY'S AFAXUAL OF 

c;lass siaxs, with peael settings. 

Tlio best moibod of doing such signs is, first to drtiw 
your parallel lines with a sharp pointed piece of bard soap. 
Then form your letters correclly, giving theui llie })roper 
distances, etc. 

J lave your outlining very true, as by so doing you ■will 
avoid much trouble when tinishing. if you d;>siro to en- 
close the pearl within gold lines, clean your glass upon tbo 
opposite side, then with your camel-hair brush lay on your 
size as directed for gilding on glass. 

When you have done this, lift your gold leaf and lay it 
on carefully. When all the gilding is done and dry, take 
a pencil of the proper size and cut in all the letters as 
neat as possible, giving them sufficient strength and weigbt 
in proportion to the size of the letter, leaving the center or 
lilank s]>ace entirely clear. 

By "cutting in" I mean that all you wish to show in 
gold must be laid in with black japan, two conts. When 
the japan is dry, then wash off carefully all the surplus 
gold. The work is now ready for the pearls. 

The pearl for tliis worlv is all prepared, ready for use, in 
thin pieces or sbeets. There are two kinds, the snail, and 
the (i-Hronf, also the small broken jtieces, called scraj), 
whicli is very usefid in filling up small portions of the 
work, and farming different kinds of ornaments. 

If careful in selecting the snail |iearl, great beauty and 
order may be ol>tained. f<ir shells of an equal size and form 
when cut into sheets will reflect either concave or convex, 
according to the side presented to the eye. 

If a round i)icce is wanted in the center of cacli body 
and round turn of the letter, cut the sheet with a sharp 
pair of seissors into the desired shape. It is the best way 
to make a pat torn of tin to cut them by, thus insuring a 
perfeot uniformity. 

Tlien clean olf the edges with a fmo file, and arrange 
thorn upon your table so as to have tbem reflect all one 
way, convex side no. Have your size in a little cup, a 
short, stiiT, sable ]>encil, etc., ready to work. 

Lay a coat of size over the face of the pearl and then 
put it in its proper place in the letter. Press it hard upon 



SIGX, CARKIAOE AND DECORATIVE PAINTIXG. 35 

the g:lass so as to displace all the size possible, as much of 
the beauty of the work clepeuds upon having as little as 
may be of the size show between the pearl and the glass. 
As with glue and wood, the less glue there is in a joint the 
better it holds, and the closer the jfieces of wood approach 
each other. 

When yon have set all of the pearls turn the glass face 
upward, and see if all are placed so as to show alike, for 
if there are any corrections lo be made now is the time to 
make them. 

There are a great variety of forms manuftictured and for 
sale, such as representations of humming-birds, paroquets, fish 
flowers, scrolls, etc., which are susceptible of being made 
into very pretty work when judiciously handled. In short 
a thousand varieties of work can be produced and many 
difl'erent materials used in this same way. 

After the larger pearls are set you can form the other 
portions of your letters with such sizes as you may choose, 
and fill up the smaller portions with the " scrap," taking 
care, however, not to have the pieces set too near together, 
or the eifect will be bad, as much relief is obtained through 
the medium of the ground. 

When your size is dry and the pearl firm, then have your 
ground mixed up stiff with drying ja])an, oil, and turpen- 
tine, but only a small proportion of oil. After mixing it 
to the proper shade lay on a licavy coat of ground color. 

AVhen any particular style of ornamentation is desired 
you can vary the colors of your ground, shading the dif- 
ferent sides of iho letters, scrolls, etc., to suit your own 
taste and fancy, doing the shaduig in a similar w;iy as you 
would any glass signs. 

Green, red, yellow, white, etc., are used with good eilcct, 
shaded in order, viz. : greens with darlcer greens ; reds 
with brown, purple, etc. ; yellow with burnt und)er, blend- 
ing carefully. In short, a great variety of colors may 
be used in such work, ami, as before said, an endless variety 
of styles produced. 



36 hanky's manual of 

>S1ZE TO FIX THE PEARL. 

1st. Pure masiic vamisli. 

2d. Pale, quick (Iryhi.i? copal varnisli. 

od. Copal varnish and Cauada !)aisam : one-third copal ; 
i\Yo-tIiirds Canada balsam. 

In shading letters, tiiey loolc best when the shade i^! 
drawn on an ani;le of iibout forty degrees, although nuich 
depends upon the taste of the artist. 

With the siin])le rules liere given for pearl and fancy 
signs, every variety kno^vn in the market may be produced. 

COXCLUI) IXG PEM APJvS. 

Having gone over ab.out all that is necessary to consti- 
tute a ready " Hand Book" to the sign painter, a few con- 
cluding remark's nuiy not bo inappro;>riate. I do not pre- 
sume to teach tho ])ractical sign ))ainter or gilder, still I 
tlatter myself that even he may fuul in this Manual many 
things that arc new or but iui])erteclly understood. 

These recipes and nu4liods — in fact, the contents of 
the entire book — is but the sunnnary ot' a loiii'; experience 
on my r»art, both in this country and in England. I have, 
given nothing and advanced nolhing but what I have nsed 
Jiiid itrotlicd by myself. 

tStill cxi>ericnce is not the only help a man may em])loy. 
The experience cA' others oftentimes savfs ns from much 
labor in jiersoual research and experiment, and what ! l-.avo 
read, what 1 have learned mys(df during forty years of 
practical sign and decorative ]iainting, is lure given freely 
iur the good of the ])roiession. 

Letters are generally charged for b\' the foot. 

Plain letters oOc. i»er foot. 

For one yliade, add - - lOc. '• 

T)oid)le :;hade, add - - - .'iOr,. 

Gold letters - - - - - -SI. 00 

Crn.amented leltcrs, scrolls, etc., charge lor time and ma 
terial in the same proportion. 



7c. 


per 


iuch. 


2c. 




(. 


7c. 




u 


3c. 




'• 



SIG-V, CARRIAGE AND DECORATIVE PAINTIXC. o7 

Japanned tin signs 
Shading '• ... 

Lettering on glass .... 
Letters made on glass, tin, or stone 
Plain ornaments, same as letters. 
Gold l)orders ..... 3c. " 
In gold or plain surfaces, the labor equal to cost of the 
gold. 

Ornaments in [)ioportion to the labor. 

These rules ■will serve as an average in proportioning the 
prices to the amount of labor. 

It would be superfluous to enumerate a farther list of 
prices, for the purpose of meeting every variety of letter- 
ing and ornamenting, but these prices given may bo taken 
as a standard, subject always to the fluctuations of the 
prices of labor and material. 



FRESCO PAINTING, 

AND ITS AUXILIARIES COMBINED. 



Of all those attainments which contribute as well to the 
gratification of the senses as to the refinement of the taste 
and the enlargement of the intidlectual powers, the art of 
Painting is perhaps the best adapted to the human mind. 

Tiie satisfaction derivable from the contemplation of a 
beautiful work of art possesses a peculiar advantage ; it is 
renewable at pleasure without any continuance of the ex- 
ertion by which it was produced. Put a rare combination 
of talent with industry, or, at least, great industry, can 
alone lead to ))roductions which may claim admiration be- 
yond the circle of our own partial relatives and friends. 
Experience has proved the impracticability of conveying a 
knowledge of the elementary principles of this art, in any 
manner so as to supersede iha useful labors of the drawing 



38 HAXEY S MANUAL OF 

master or teacher, yet there h^ much to he learDcd before 
the ])upil can go alone, wirli contidence, after the period 
when liis attention ceases, and wliich the limited duration 
of his lessons caimot include; to this we must attribute 
tlio fact that so many who make a fair progress under the 
master's eye, cither never attemiit any performance with 
the pencil after he has ceased to siqierintend and direct 
tlieir studies, or finding themselves embarrassed at the out- 
set, abandon the ])ursuit and fancy "their genius does not 
lie that way."' AN'e will presume, however, that tlie reader 
has gone through the usual elementary course of instruc- 
tion, that he is able to copy with ac< nracy the outline at 
least of any object which may be set before him ; this and 
nmch more nuiy be obtained by any person of nu)derate 
ji1)ililies by industry, without an iota of that much mis- 
undersiood quality genius, which has proved an ignis fa- 
tuus to thousands. One of the greatest artists of tlie day 
was right when lie said : " Xotliing is denied to well directed 
iiulustry ; notliing is to be olitaiued withdut it."' Depend, 
then, whi/lly up-ou your own exertions, and listen rather 
to the criticisms df the judicious than the praises of those 
who will tlatter you with assurances that you ])cssess in- 
tuitive excellences which may render a]>plication ninu'ccs- 
sary. To reconuneiid a i)ropcr course of study will be tlio 
most useful ])uriiOse to which these ])ages can be devoted, 
for it cannot be dis|iensed with. 

Before any attem|)t ben;ade beyond copying, the student 
is enjoined to accpiire a clear view of the leading priucii)les 
of perspective on pain of con;mitting al)surdities, for which 
no beauty of color can atone ; it will be found less difricult 
than is generally imagined. Although it would be impos- 
sible to compress iuto our limits all the exphmations and 
diagrams necessary to an illustration of its theory, we shall 
subsequently ofler a few observations which, we trust, will 
prove beneficial to the student. 

There are two points to v>hich we would particularly 
wish to call attention, because ihey are errors that greatly 
retard the progress ; one is a want of <'oniniand of hand, 
the other, an inqiatience to produce a finished efTect with.- 
out the systematic and gradual process necessary to the 
production of a piece of good W(u-k. 



SIGX, CAERTAG?. AXD DECORATIVE rATXTING. CO 

To remedy tlio lirst vriil roqiiirc great altontion and prac- 
tice, if tho iiucertaiuty of baud or timidity of touch exist in 
a great degree. It is never found among Ihe artists of 
necessity, with vrhom quality of production is an ol«jcct of 
importance, as decorative painters, designers for furniture 
and manufacturers; with these freedom and precision of hand 
arc seldom wanting. 

Wo advise the pupil to study \Yell every lino before it is 
])egun, to determine its exact com-sc and bearing ; in short, 
to look from the object to be represented to the surface on 
which it is to be drawn again and again, until the mind's 
eye transfer it and tbe imagination sees it in the place it 
is to occupy — that is the moment to be seized, and then 
the quicker the line is dravvn tho better. Largo objects 
should be copied on common sheets of paper ; it is a great 
check to the freedom of the hand to have your sheets too 
small, as it has tho teiulency to produce fear a1)out spoiling 
your design or drawing. Still avoid the opposite extreme, 
and remember ab\vays that true proportion and correctness is 
the first principle of tho art. 

■An occasional hour or two would not bo misspent if oc- 
cupied in drawing straight lines perpendicularly, diago- 
nals, parallel to each other, and circles without tho com- 
passes. 

This observation is applical)le to many wlio would be 
ashamed of being seen so employed ; who have, in fact, 
attempted to execute a piece of vrork without sufficient 
practice in the rudiments of the art. 

The second error is even still more common, that is for 
a i)ainter to proceed to color, or rather to waste his time 
in shadowing or coloring upon an outline which might 
mean anything. There is no lime in the progress of a 
l^iece of work, when tho forms of ohjects can be so conve- 
niently improved, as when they are in a faint outline; a 
thorough conviction of this, and experience of the pleasure 
of modeling as it were into substance by shadows, and 
adding tho charms of color to well-studied forms v/ill render 
})atient labor less irksome by anticipation of certain ulti- 
mate success. 

In your early practice of drawing from solid objects, it 
would be well to make several studies from a v,'hitc globe, 



•10 IIAXET'S ir.VXUAL OF 

l»l;u'ing ii, iu diiTert'iit ligliti-:, and luiving only one window 
in the room. 

You will find Unit lliorc is l)iit a sinirle spot upon it which 
c;'.n 1)0 represented by perfect wlnteness ; and that all the 
other rays fallin,^ obliciuely upon a recedinjj^ surface, a 
weakened liglit is received, diuiinishing:, at last, into abso- 
lute shadow, until a<;-ain relieved by reflection irom sur- 
rounding- objects on the opposite side. A cylinder may be 
made by a roll of pa])('r, an e<rg: will serve as an oval, and 
a cone may be obtained by rollin<? up a sheet of paper in 
the sha])e of an extinjruislier. Thus the models arc easily 
obtained, and the i)U])il has but to study them well, and bo 
will imbibe all the principles of light, shadow and reflection. 

He may tlien ])raceed to the plaster bust, v.diich must bo 
clean and free from dust, as discoloratious greatly em- 
barrass an inexperienced practitioner. 

The outline should bo sketc'icd faintly at first with soft 
charcoal (that made of (lie willow is the besl), the super- 
fluity of which may readily be removed from the paper by 
a soft feather duster or a ligdit whisk of the handkerchief, 
or even a feather, leaving; a faint but sufiicicnily distinct re- 
])resentalion. This should ])c repeated until the pupil is 
satisfied with the form and pr.jjtortions, when colored chalk 
may be used. 

.V ijray jiapi r we jirefcr, as it forms the UK'st natural 
medium between the black and white chalk, and must 
always appear between them. .Soft French chalk is the 
best for g-eneral ]>urp«)ses. and the Italian chalk, which is 
harder, for finishing', or where great neatness is required. 

Center pieces for ceilings, scrolls, spandrels, ])arterres, 
etc., molding-s, copies of the various orders of architecture, 
\\7.. : Tuscan, Doric, ionic, Corinthian, and Composite. 

Here the pupil vrill find a larire field fiir study, aujj we 
vronld strongly recommend thar those various orders should 
be copied from some g-enuine prints, in parts and in v/lnde, 
so as to familiarize the eye aiid cultivate the mind to all 
i!u> varieties therein contained. 

Those lessons iu colored cb.alks are the mo.«t ready me- 
thods for graining; Imowledg'C in shading-, etc., so as to raise 
any object upon a jilain surface, to represent that relief or 
effect vdiich is wished to be obtained previous to attempt- 



SIGN", CAKRIAGE AXD DECORATIVE PAINTIXG. 41 

ing anytbing ■with water colors. For if not very conTcrsant 
witli the true forms of tlie subject to be painted, the pupil 
will find himself launched into a sea of trouble from which 
it will be diQicult for him to extricate himself. 

Therefore, I repeat, that owing to the difficulty of work- 
ing colors in distemper upon a ground of the same kind, 
where any fault, cither in tint or position, is by no means 
easily rectified, the more docs the pupil require extensive 
and laborious practice in coloring with chalks or crayons. 
Then he will become decided and sure of touch, and make 
every lino tell with masterly cfTect. 

Speaking of the various orders, their j)rominent distinc- 
tions are as follows : Tuscan, of which the usual liight of 
the column is seven diameters ; Doric, eight; Ionic, nine ; 
Corinthian, ten ; and Composite, ten. 

The Tuscan is quite plain, without any ornament what- 
ever. 

The Doric is distinguished by the channels :uul project- 
ing intervals in the frieze, called Triglyphs. 

The Ionic by the ornaments of its capital, which arc 
spiral and are called volutes. 

The Corinthian by the superior bight of its capital, and 
its being ornamented with leaves, which support very small 
volutes. 

The Composite has also a tall capital with leaves, but is 
distinguished from the Corinthian by having the large 
volutes of the Ionic capital. 

A complete order is divisable into three grand divisions, 
which arc occasionally executed separately, viz. : Tin; 
column, including its ba.se and capital; the pedestal, which 
supports the column ; the tutablature, or part above and 
su])ported by this column. 

These are again each subdivided into three jiarts: The 
l)edestal into base or lower moldings; dado or die, the i)laiu 
central space ; and surbase or upper molding. 

The column into base or lower moldings. PhafL or cen- 
tral plain space, and capital or upjier moldings. 

The entablature into architrave, or part immediately 
above the column ; frieze or centj-al flat space ; and cornice 
or upper projecting nu)ldings. 

These parts nuiy again be divided thus : The lower por- 



4^ IFAXEY's .ma N'T AT; OF 

lions, viz. : llic l>asc of iicdestal, Imr-.;^ of (-olunin and urclii- 
Iravc, divided each into two parls; tlic fir!<t and second 
into plinth and nioldinjis. the third into face or faces, and 
upper n)oldi!!.i;- or tenia. 

Each central ])ortion, as dado of j-.edestah siiaft of cohmni 
and frieze, is undivided. 

Each upper portion, as surhase of i)edeslal, capital of 
colnnm, cornice (/f entablature, divides into three parts ; 
the first into l)ed molds, or the jjart under the corona; co- 
rona, or jilain face; and cyniatinni or r.|iper inoldinji-. 

'J'ho capital into neck or i)art [)elo\v the ovolo; ovolo 
or projecting;' round molding j and abacus or lile. The 
fiat upper molding mostly m-arly square. 

'I'jiese divisions of llie capital, liowever, are less distiuci 
liian ihosci of tlie other parts. 

'i'lie cornice into bed mold, or pari belov/ the corona; 
corona, or lluL projecting face ; cyniatium, cr molding above 
the corona. 

Ik'sides these general divisions, il. will be proper to no- 
tice a few terms often made use of. 

The ornamental molding running round an arch or round 
door.s and windows, is called an architrave. 

An ornamental molding hir an art-li to spring from, is 
called an impost. 

The stone at the top of an arch, which (iiien piojec'ts, is 
called a key -stone. 

The small brackets lUider llie corona in ilie cornices are 
called mutules or modillions ; if they aie sipuire or longer 
in front than in deislh they a.re called mntules, and are 
used in the Doric order, if they are less in front than their 
depth, tliey are called modillions, and in the Corinthian or- 
der have carved leaves spread nnder tjieni. 

A truss is a modillion enlarged and placed flat against a 
Avail, often used to support the cornice of doors and Avin- 
dows. 

A console is ;;n ornament like a truss, carved on a key- 
slonc. 

'i'russcs when used inidcr modillions in llie frieze are 
called canlalivers. 

The space under the corona of the cornice is called a 
soffit ; as is also the underside of an arch. 



STGX, CAKKTAHF. AXD DECORATIYi; PAIXTIXO. \?, 

Dentils arc orr.iinicnis used in the bed molds of cornices; 
they tiro part;^ of a snial] flat face wliich is cr.t i)erpcudicu- 
larly, and small intervals left between each. 

A flat column is called a ])i!a!<tcr, and those which arc 
used with columns and haveadiifercntca}iital arc called antooa. 
A small hight of ];aueling above the cornice is called 
au atlic, and in these panels and sometimes in other parts 
arc introduced small pillars, swelling toward the bottom which 
are called balusters, an.d a scries of them a balustrade. 

If the joints are channeled the work is called rustic, 
which is often used as a basement for an order. 

Columns arc sometimes ornamented by channels, which 
arc called flutes. These channels arc sometimes partly 
tilled bv a lesser rouud molding ; this is called cabling the 
flutes. 

For the better understanding the various orders it vrill 
be proper first to notice the different n.ioldings v/hich b.y 
diflerent combinations form their parts. 

First. — The ovolo or quarter round. 

Second. — The cavetto or hollow. 

Third. — The torus or round. 

From the composition of these arc formed divers others, 
!iud from tiio arrangement of these, with plain flat spaces 
between, are formed cornices and other ornaments. A 
large space is called a corona if in the cornice ; a fascia in 
the archirravc ; and (he frieze itself is oidy a flat space. 
A small flat face is called a fillet or listel. and is interposed 
Dctweeu moldings to divide them. 

A fillet is in the bases of columns and soni'.> other parts 
joined to a face or to the column itself by a small hollow, 
then called apophyges. 

The torus, when very small, becomes an astragal, whieli 
projects, or a bead, which docs not project. 

(Compound moldings are the cyma recta, wl'.ieh has the 
hollow uppermost and projecting. 

The cyma rcvcrsa, or ogee, whicli has the round upper- 
most and projecting. 

The Scotia, which is formed of two ludlows, one over 
the other, and of dilTerent centers. 

Several beads placed togitther, or sunk in a fiat face are 
called reediuc'S. 



44 nAXEY'S ilAXUAL OF 

All ilie.'ie moldings, except ihc fillet, may be occasionally 
carved, and they are then called enriched moldings. 

From llieso few sim]>lc forms, by adding astragals and 
fdlets aiul combining differently ornamented moldings, faces 
and soffits, arc all the cornices, panels, etc., formed, and 
the modern compositions in joiners' work, etc., fresco paint- 
ers, builders, etc., arc very numerous, and too well known 
to need describing. 

For human figures or animals, fruit, flowers, etc., the 
student must supply himself with good specimens, either 
lithograplis or good prints of any kind, aud practice from 
them until he has acquired sufficient knowledge of propor- 
tions, form, size, etc., to suit the various positions to which 
they may be applied ; true proportionsan'of vital importance 
to the fresco painter, as his drawing will 1)0 about the first 
point of criticism to which ho will tind himself liable, eveu 
more so than to his shading or coloriug. For it matters 
little ho\Y well coloriug or shading may be executed if the 
drawing is deficient. Therefore let 11)0 pupil persevere ia 
this branch of the art. 

lu drawing flowers the center should l>c drawn first, as 
by spreading outward, the graceful and ever varying 
forms of nature in every stem aud leaf nuiy be more easily 
expressed. 

Ju the subsequent operaiit)n of coloring them they require 
much more attention than any other part of the work, so 
as to produce a soft and accurate eflect; but not an equal 
degree of skill and experience to produce a beautiful whole. 

In this kind of drawing, as in every other, the first lesson 
should be obtained by following the draughts of the most 
skillful masters, com])aring their productions at the same 
time with nature. As flower pieces are inspected with 
almost microscopic attention the fibers aud figure of every 
leaf must be distinctly expressed. Flowers which do not 
blow at the same season of the year should never be grouped 
together. 

In drawing fruit great care is to be taking in assorting 
or arranging them so as to produce the most imposing 
effect. 8o ]dace them as regards color, size, etc., with an 
easy carelessness that they may by such freedom of position 
aid the pupil in producing a good haru;onious painting. 



SIGX, CARRIAGE AXD DECORATIYE PAINTING. 45 

FIGURE rAIXTIXG, 

As Leforo staled, ro(|nircs correct proporiions, g-(!od 
coloring, great ease, and a general softness tlironghout, 
to be graceful and mellow in tint, avoiding cold or harsli 
shading, etc., having always in view the fact that this par- 
ticnlar branch of the art demands consummate skill and 
great truthfulness. 

OF LIGHT AXD SHADE. 

When a ceiling or side paneling is drawn out carefully, 
and the pupil is satisfied that all is in due propoi-tion and 
correct to the order desired, tlic next point of consideration 
will he to judge from what particular side of the room the 
light falls from and upon the ol)jects drawn, so that all the 
shadows may fall one way, and of course from the light. 

That part of design, panels, scrolls, etc., whose sides 
are nearest the quarter from which the light comes, must 
be the brightesr, and the remainder must be gradually 
darkened. 

Surfaces which arc wished to project being nearer the 
light than others, must l)0 sharp ai^l well illumined where 
the enlightened side can he seen. The faintest lines should 
be put in first, proceedhig gradually to (he darkest. All 
shades should bo rather too light at first, that they may bo 
worked up gradually to the full effect. 

All strong lights must be relieved by deep shades, but it 
must be remembered that strong reflections diminish and 
always soften the shades cast by the original light, so as 
in some instances to make the side of a body which retires 
from the light brighter than a nearer part. 

It is by the reflection of light received from the sky or 
terrestrial surfaces that the darkest part of cylindrical and 
globular bodies, is not that wliich is the most distant from 
the original light ; and from the peculiar nature of the re- 
flection from such surfaces, when tlic light falls on one 
side of them, the lightest part is not ahvays that which is 
nearest the light. 

In shading an upright round ])niar for example, a small 
i>orll(»!! of the side nearest IIk^ li^'ht, sujuiosinu- Ihe light 



43 UAKEYS MANUAL OF 

to corne from oi^c side, Riurald 1)0 a litrlo sluuled ; ilic next 
portion sliouUI exhibit the stroii<j:cst liirhi, wliich in water 
color will be almost tbe ground color unless the ground 
be dark, then it Vv'ill have to be run in almost pure white. 

Then will come the deepest shade, and lastly a shade 
for the fiirtb.er side somewhat deeper than the one on the 
side nearest the light. Those shades duly softened into 
each other will give the idea of a round body. 

Titian declared that the best lessons lie ever received on 
the distriI)ntion of light and shade N\ere derived from 
studying and drawing bunches of grapes. 

Having as briefly as possible laid down the most useful 
preliminary studies in the art of fresco painting, as far as 
architecture, light and shade, etc., elc, are concerned, we 
will now proceed with an oulline of tlio method of prepar- 
ing ceilings, walls, etc., and also the proper mixtures for 
laying the grounds, stiles, etc., preparatory to running in 
the lines to furm ])anels, ornaments and decorations. 

If the walls and ceilings are new i>laster (th.it is clean), 
I would in-efer giving them a good coat of i>aint previous 
to nsiniz; the distemper colors, and for the best of reasons, 
for by so th)ing you insure against stains or a striking in of 
your distemr-er coats, which is very apt to w.cnv if not 
painted. 

The first coat of paint should bo mixed al)out two-thirds 
turpentine and one-third linseed oil, witii as nnich japan 
drier as will dry it hard ; too much oil would be liable to 
bear out so as to cause your distem])er color to crawl and 
not lay well, therefore better err ujion the other side, viz. : 
loo much turpentine rather than oil. 

T\'hen Ihorough.ly dry have good glr.e in readiness, first 
prepared l)y steeping it over night in water to soften, then 
melt in a suitable pot or kettle, and 1)0 cautious not to 
overheat it in melting; in fact it ouglit never to boil, for 
boiled glue never v;orks vrell and soon spoils in mixed 
color. 

Then liavi^ good Paris whiting, ia];e ;;s nnuli as you 
lliink you will rcciuire for the amoiiiil^ of work you inlciid 
1o tirst ccal, beat, il- up thick wilii water, be sure ihat you 
have i;. all retlueed (o a perfect l'ii!i>, i:o liniips. 

Th.-i! lak;- a v>'orkiiig pail, and put in as imicli of your 



SIGN^, CARRIAGE AND DECOKATIYE TAINTING. 47 

l)eat-up ^vLitIug as will go over your intended piece of 
work. 

Then take the colors required to produce the shade 
wanted (the colors previously ground in water) and cau- 
tiously mix- with the hand, which is preferable to a spatula 
or stick, till you get the shade desired, which you can prove 
very easily by drying a little on your hand or on a piece 
of white paper ; if too dark, add more whiting, or if too 
light, more color. When you have got the tint to your 
mind, take your melted glue and put in enough to bind 
the color very hard so as not to rise or wash up with your 
second coat. This you can also test upon a piece of paper 
before you lay the color u])on yom- plaster, ceilings or 
walls, for by neglecting to have sulTicient size or glue in 
your color your second coat will mix up with your first, 
and the two will roll and gather thereby spoiling your 
work ; the result of which will be that you will have to 
sponge otF both coats with water, thus loosing your time and 
materials, and suffering disaptpuintment and mortification 
besides, for your neglect. 

If all goes well you will find that two coats will be suffi- 
cient in the most of cases, and ought to be made a rule as 
far as possible to manage ceilings with two coats. 

Having now got the ])Iane of your ceiling or wall done 
you now proceed to mix up the color for the stiles or hovd- 
cr, and carry out a similar i)roccduro with them until all 
looks smooth and solid, and if satisfied with the color and 
its covering qualities you next proceed to mix up all your 
sliades for drawing your moldings as above directed, viz. : 
run all your light lines first, tlien the secondaries, deep, 
etc., relief, etc., until the molding yields a just resemblance 
to the order required ,• the corner jiicces can now be acted 
upon, all cut in with the same colors ; when the last touches 
ai'c put in let the edges be cut sharp and crisp, and do not 
forget the relief shadows to them also. Now examine the 
whole work carefully so that nothing shall be left undone 
or forgotten. 



48 HANEY'S ilAXUAL OF 

CENTER PIECES WITH FLOWERS. 

If flowers are to l»c put in panels, first draw them cor- 
rectly, then proceed to coh)r them accordin<^ to nature if 
so wanted, then lay in a suitable ground around the group 
up to the molding, let it be a somber neutral color so as to 
sink the ground and relieve the flowers. If 

FLOWERS IX RELIEF, 

You work them out in the same colors as was used in 
the moldings of the ceiling, giving the group a slr(mg re- 
lief shade ; but do not lay in any other ground but simply 
the panel color. 

Some fresco jiainlers lay such panels in a different color, 
but I question if that taste adds anything lo the general 
beauty and chasteiu'ss of the ceiling ; it is too gaudy, too 
much, to use the vulgar term, '* ginger bread style." Yet 
some i)artics will have such work, and to please sometimes 
the ariist has to give way; but always suggest, where it 
is safe to do so, if for uo other reas(m than to put yourself 
in a proper position l)efore the jjublic on such uiatters. It 
is the duty of an artist to state what is the right harmony, 
etc., whether adopted or not liy the emi>loyer. 

COLOR FOR CEILIXCS, WALLS, ETC. 

Regarding suitable colors for interior dceoraticm, there is 
several considerations of importance which nuist be here 
noticed. 

First, the kind of building and its use, a church, a public 
hall or dwelling house; also the position of the house in 
reference to tlie cardinal ])oints of the c(mipass, north, 
south, east or west, for the following reasons, viz. : 

If a south or west exposure, that portion of the house 
will have a large share of sunlighl, conse((uently a natural 
warm glow of heat, while the north and east, although 
possessed of sufficient light, as a natural result, a certain 
coolness consiMiuent to the want or alisence or nearly so of 
direct sunlight. 

Tlicri'lnrt' for south (»r west cx|)Gsure it will be seen at a 



SIGN", CARRIAGE AND DECORATIV^E PAINTING, 49 

glance that cool colors must be selected, as a want of this 
knowledge might cause the most disagreeable feelings to 
those who had to endure the effects, although they might 
be altogether ignorant of the cause (by the painter) through 
neglect, or want of knowing why, this disagreeable feeling 
was induced. 

And vice versa for rooms situated on the north or east 
side of a house. The colors must be of a warmer shade or 
tint ; thus, during the warm season the effects of color up- 
on the mind is such as to produce an ^fjuilibrium. 

So that any person passing through a house at any sea- 
son of the year would not, upon leaving a room on tlio 
north or east portion of the house to go into one in the 
south or west sides, feel any considerable change, if any, it 
would be but momentary, for the colors of the two would 
immediately blend or harmonize so as to produce a 
pleasing sensation. The effect of color thus has the ])()wer 
to some extent to equalize to the senses a feeling of nearly 
an even temperature. 

CHURCH COLOUS. 

In referring to church decorations, much difference of 
opinion exists. Many hold as a fixed rule that churclies in 
particular must have a somber monastic gloom. Such 
take the idea from visiting ancient buildings, the relics of 
l)ast ages, which, on account of their walls being generally 
built of stone, and that stone work being the interior finish 
without plaster, such churches do, no doubt, while lighted 
by stained glass and heavy stone work in their windows, 
etc., cast a dull, melancholic gloom. But this result by no 
means claims it as a necessity that such cold, forbidding 
colors should be a standard to Ihe present age. 

And further we take the ground that dark somber colors 
have nothing to do with producing religious feelings or awe. 
Decorations, colors, etc., style or order, ought to be care- 
fully selected and in good keeping, which should be such 
as to cherish a true sensibility of christian feeling, altoge- 
ther free from all depressing circumstances or causes such 
as cold, raw, uncongenial mixtures have the natural ten- 
dency to produce ui>on the mind. 



50 HAXET'S MANUAL OF 

At tlic same time avoid all snoh colors as would be suit- 
uIjIc for theater decoration, llather choose a modest, plea- 
sant class of tints, a medium between the two, neither too 
bright and lively nor too dull and monotonous. 

PUBLIC HALLS OR LECTURE ROOMS. 

The best class of colors for such buildings are, or ought 
to be, pleasant, light, agreeable tints, neither too warm, 
nor in the other ex^-eme, too cold. They require to bo 
colors easily lighted, pure mixtures, not muddy but airy. 
Beautiful gray tints for the ceiling panels; pkjasant cool 
buffs or drabs for the divisions or stiles, which can bo 
broken up well in neutral tints, all combining to produce a 
sweet harmony. 

Ceilings so done rerpiire to have the walls in keeping, 
only giving your colors more tone or force, dividing judici- 
ously the various tints throughout the cornice, etc. Artificial 
moldings always partake of the color of the stiles, and are 
always allowed for in drawing out the lu'eadth of your stiles. 
The order you select will always guide you in finding the 
various members constituting the molding reipiired, etc. 

DWELLING iroUSES. 

The interior decorations of dwelling houses admits of 
more latitude. Here the painter has ami)le scope for the 
introduction of variety, as all colors consistent with the 
art of house decoration can be used with impunity. 

Still we would advise that colors of a chaste and pleas- 
ant character ought to be the general rule. 

Let the panel of the ceiling be of a tone of color agree- 
able and in unison with all the other arrangements, for in- 
stance; ascertain the color selected for the upholstery, car- 
pets, etc. (if already a furnished house), then thecoloi'S can 
be mad(! up in complete harmony. You can judge at once 
those colors that will l>c suitable not only for the panel, 
stile and cornice, but also for the walls ; and can also see 
what the contrasting shades ough.t to be to give the true 
tone and character to the whole. 

Eor panels grays of various shad(>s are cmitldyed, vary- 



SIGN, CAltKIAGE AND DECORATIVE PAINTINCi. 51 

ing from the delicate French white to the dccidecl rrcncli 
gray and lilac, compositions of white, blue, red and black. 

As already mentioned, whiting for the base of almost all 
the shades required. Ultramarine blue, cobalt, Prussian 
and verditer being the blues generally used. Indian red, 
Venetian, vermilion, lake, carmine and sometimes orange 
mineral ; but for large surfaces it ought to be avoided, as 
it will be liable to sink owing to its great density. 

The only blacks to be relied on are the blue black and 
the Frankfort, or pure ivory black. Lamp black ought 
to be discarded, as it is generally foul and greasy. 

Pink or rose tints are got by a mixture of red with white, 
employing any of the reds most suitable for the shade re- 
quired ; if very rich, carmine or lake, vermilion or "W'uetian 
red ; Indian red, if not wanted bright. 

Greens. — Any good chrome green will answer ; niinend 
and Paris greens are of the first importance when bright 
greens are wanted, and works very clean. 

Bui'FS OR Drabs. — A great variety of shades of that 
class or color can be attained by a mixture of yellow ochor, 
red, blue or black. Some introduce umber to great ad- 
vantage in drabs or buffs. If wanted cool add more blue 
or l)laek and keep out the red, or subdue it nearly. 

Clirorne yellow of various shades can boused, and if only 
used with discretion is a valuable color, but bear in mind 
ihat chrome is a color of great strength, and has to be used 
with caution and judgment. 

These shades can also be improved if I hey are wanted 
warm and mellow, by the addition of terra de sienna, either 
in its native raw state, or calcined, known as burned terra 
de sienna ; it gives a fine warm tone to those colors. 

If cool buffs or drabs arc wanted, umbers can be intro- 
duced with effect, both raw and burned, producing great 
variety of color in mixture with or without yellow ociher, 
chrome yellow or raw sienna. The Turkey und)er is supe- 
rior to the English or American, being a more pure earth 
and stands better. 



52 " HAXEY l; MAXUAli OF 

r.ROWNS FOIl .SIIADIXG, ETC. 

l-unit ii!nl)('r, Vandylcc Itrown, oxyde of iron (couinioiily 
ci'.llcd '• cokuithef''), ]mrple hrowii, burnt oclier, burnt 
sienna, etc. Burnt .sienna aiul ultramarine in mixture ; a 
beautiful sluiding color, not too nnich of tlie blue to show 
it. 

Always recollect Ihat for ^jround colors the mixed whit- 
ing is the base of composition. 

In finishintr panel worlc, whore ord<'r is not entirely bind- 
ing, colors can be introduced whicli lias a very fine etl'ect ; 
such an ])arting lines, sometimes red brown, green or blue. 

These are simply to divide contrasting or strong colors, 
and assist very much in relieving the whole work and gen- 
eral effect. ]'ut tlie pupil must be very cautious in intro- 
ducing such auxiliaries, for many times good colors, fair 
vcorkmanship and contrast has been destroyed by such in- 
troductions, ]»];!cing such strong tints where they really 
were not required, or of :;n iniproijcr tone to jiroduce har- 
mony. 

CKILTX(;S ORXAT^IKXTi:]) V»MTII COLD. 



Sometimes a ceiling h r!'lieved by gilding. The center 
picH'cs, corner ornaments, a menil)er of a nio!din;r. etc., are 
riMjuireil to be so. 

Then the student nnist select some (.f the ]»rojectiiig or 
prominent. ])arls, and iiaving sized in for gilding, after wliicli 
he must liave his cushion, tip, cutting knife, etc., all i]i 
readiness, also a l)all (»f soft cotton, large camel hair brush 
for dusting off idl the surpliis gold. etc. Then ]t!aco your 
gold leaf upon the cnsliinn, lak.' yoiu- knife and cut it into 
strips of a projter size, draw your tip across your hair 
(iiaving first drawn a pieco of ])nre tallow over the hair so 
that a slight touch will cause the tip to lift it]) and carry 
th(> leaf to 1h(^ piece of work to be gilded), then use the 
ball of cotton |o lay it down, and clean ctf with the camel 
hair brusli, etc. 

The size lor gilding upon ceilings, etc.. when a dislem- 
l)er grouml is laid, no oil size can bo used without first 
rnniiipg all th:> mcniber in willi a prena.ralion sizing fuich 



SIGX, CARRIAGE AXD DECORATIVE PAIKTIXCi. G?. 

cs gum water, weak glue, or thin shellac varnish (bleaehed) 
so as to keep the oil size from staining or running. To 
obviate this trouble and save time an excellent size for 
such work can be made by intimately mixing with thick 
glue a little fine pure honey. This is what is called by 
the French artists " batture." They contend that this size 
liightens the color of the gold, and such experience will 
teach the studeut is the case; it also gives the gilding a 
fine luster, closel}^ resembling burnished gilding. 

PAINTING VESTIBULES AND HALLS TO STAND 
WASHING. ETC. 

The walls must be prepared with oil paint, same as for 
any other painted wall, only the last coat must be " dead " or 
"flat;" that is, no oil used in the last coat, only spirts of 
turpentine. In the last or flat coat there ought to be a little 
good pale copal varuish, about one tablcspoonful to 
twenty-five i)ounds of paint; this gives a better aiid harder 
surface to the wall, and bears handling much safer, for no 
man can fresco a wall entirely free of some casual ity oc- 
curring, such as charcoal lines to dust off, a drop might fall 
from the brush, etc., and the varnish will enable the studeut 
to wash very lightly if anything should happen to require it. 

Before the wall receives the last two coats, let the de- 
sign or paneling be all correctly drawn out. 

Then mix the colors to the required tiuts (in oil), lay in the 
panels first ; then the stiles, and when thoroughly dry, put 
on the flat or last coat (si)irit color); The work will be 
dry for paneling in a few days. 

MIXTURE OF COLORS FOR THE PANELING 
OF WALLS OR VESTIBULES. 

Common spirits of turpentine for the mixing of the finish- 
ing colors is found to work too spare, does not cover very 
well, aud cannot be bound enough to stand the frequent 
jtassing u])ward and downward which is required with the 
brush in running moldings or lines. 

Therefore the following mixture is found to answer the 
purpose very well, viz. : Turpentine, a little white wax, 



:>\ HAXEY'S MANrAl; 01' 

;i iilll(! mnslic vuniisli, and a liltln [iiio \y.\V^'. daniar varnish. 
'i'!i(3 <|uan1ity of tlio varnish must Ix; very small, other- 
wise a gloss wouhl be jtrnduced which would not die down 
ihit in drying; all (hat is riMpiircd hy such a vehicle is 
sini'^ly to cause the color lo hohl or set quickly, so that 
;ho work can be more expeditiously carried on. 

X liltlo ))ractiee will soon teach the student the quanti- 
ties required, for it is not possible to give correct proportions 
for those mixtures ; besides every painter has some par- 
ticular mixture lo Vv'hich lie jtrides himself. The above 
will a]iswer all purposes. 

In ]vreparing old walls or ceilings sometinu'S there arc 
stains, cracks, etc., in the plaster; these can be l)est seen 
after the old color has l)ecu removed by washing, which 
nuist always be done tlie lirst thing; then mend all 
the blennshes in Ihc ])lasier with size putty if small, 
(»r if deep cracks, taking' plaster of I'aris aiul a little putty 
lilue, enough, merely to keep the other from setting 
loo quick. Damp ;;il the places witii a brnsli and water, 
tlun apply the ]flasfer with a small trowel or knife, and 
finally wash and smooth over tiie places lo make good 
sound mendings. AVhen dry. give a coat of shellac var- 
nish to all the mendings. 

Afier ;ill Ihe necessary repairs arc hard and dry, if the 
ceiling or v/all is not lo have a coat of ]>aint, a prepara- 
tion coat in size V\'ill be necessary. This is a mixture of 
whiting with an extraquantity ofuieUed glue, to which niust 
be added a small amount of alum ; give the plaster a full 
coat of that, alhnving a full day to harden before the 
second coat is applied; inmost cases the second coat is 
sufficient if the lirst coat has been nearly of the required 
color. But always have enough of size in the second coat 
to have il^ well bound, for it may happen that a third coat 
may be retpiired to make a good fair suiface. 

Still it is highly necessary to avoid ttio much accumula- 
tion of color, as it is ]ial)le to produce a roughness or harsh- 
ness, which is at once detected even by the inexperienced 
eye. 

Always give a coat '• fall flowing.'" Xevcr aiierapt to 
ml) out the color, for such scantiness of ccilor will be sure 
to ruin all your expectations and prove a failure. 



SIGN, CARRIAGE AND DECORATIVE PAINTING. 55 

NECESSARY IMPLEMENTS. 

A marble slab, to g-rincl all the colors not to be had 
ground at the color shops. 

A good pallet knife. 

A stopping knife. 

A small trowel. 

A square. 

A set of straight edges. 

A T square. 

One pair compasses. 

One scale for measurement. (Gmither.) 

One foot rule. 

Chalk line. 

Colored chalks or crayons. 

Charcoal for drawing lines. 

Flat nailed stock brushes, or tin bound. 

Round wire bound brushes for cornices, etc. 

Sash tools, six sizes, from No. 2 to 8. 

Flat French tools for drawing lines, etc. 

Roiuid quill or tin bound tools, various sizes, from small 
to large. 

Sable pencils, long and short, to use on scrolls, flowers, 
center pieces, etc., and various other purposes. 

An assortment of wood pails. 

Stone pots, large and small. 

Tin cups, large and small. 

Tin cans, one dozen or two, assorted in size 

Step ladders. 

Tressels for scaffolds, assorted bights ; planks, etc. 

One glue pot, double made. 

One tin basin, wire bottom, for straining colors after the 
size is put in to remove any extraneous matter in the color. 

Any other necessary article omitted, can be supplied 
when needed. 

And here I would sum up with a few useful remarks by 
way of conclusion. 

Knowledge is the grand element of decision in all things, 
and no less so in painting ; and we should neglect no means 
placed at our disposal of attaining that element. 

The same avenues of information are open to us all that 



56 haxet's manual of 

supplied the minds of Rubens and Titian, if we will but 
resolve to apply them. 

The peculiar feature of fresco painting is what may be 
called "roughness;" and what some people would apolo- 
gize for on account of "want of finish," by saying that 
more finish is important, for that at a distance it would not 
be seen. 

But this is a very unfair and insufficient view of the 
matter. Not only is there no occasion for more finish in 
fresco painting ; but properly speaking it is highly finished 
already. It is a mere question of focus. 

To finish a piece of work, is to regulate and complete 
the various parts in conformity to the whole, and this effect 
once accomplished, all beyond feuds to undo instead of 
completing the painting. 

By attempting more finish you would obtain less, for the 
real finish in fresco ])aiiiting is gained by keeping the tints 
bold and firm, that they may blend well when reviewed 
from a distance. 

TO PREPARE TRACING OR TRANSPARENT 
PAPER. 

Take one quart of spirits of turpentine, one quarter of 
an ounce of sugar of lead finely powdered, shake it up and 
let it stand for two days ; then ]H)ur off and add to it one 
pound of pure Canada balsam, set it in a gentle sand heat 
and keep stirring it until it is quite mixed, when it will be 
fit for use. Then have yonr paper ready on a smootli 
l)oard, brush it over, and hang it up to dry. In about 
four days it will l)e fit for use. 

This paper will be extremely transparent. The most 
suitable paper is bank ])ost, and when for very nice pur- 
poses, use fine tissue i)aper. 

COPYING OR TRACING SHEETS. 

Take some hard soap and lamp black, and mix them to- 
gether to the consistency of jelly. Brush over one side of 
any smooth paper with this composition and let it dry. 
Place the colored side of this paper upon a clean sheet on 



SIGX, CARRIAGE AND DECORATIVE PAINTING . 57 

a smootli table ; over both these lay any design to b(3 
copied, and trace its outlines with a metallic or ivory point 
just sufficiently blunted to prevent its cutting Ihe paper. 
The colored paper, wherever it is pressed upon by the 
point, will- make a mark on the white sheet it covers, and 
the lowermost sheet will by this means receive Ihe whole 
design. 

Black lead, vermilion, or any other coloring matter may 
be employed. 

In copying any ornament from the sheet, use the precau- 
tion to fasten your sheets securely, for a shift of any of 
them would make a false copy. 

POUNCING ORNAMENTS OF ANY KIND. 

Prick the outlines of any design to be copied with small 
pin holes, very near to each other. Place the design to 
be copied upon a clean sheet of paper, and dust it over 
with finely powdered charcoal from a muslin bag. The 
charcoal will penetrate through the pin holes, and upon 
lifting up the pricked paper, the design will be found upon 
the sheet beneath it. The pricked i)aper will serve many 
times, and ought to be carefully laid away for use upon 
some other occasion. 

Correct copies of any scroll or design can be thus trans- 
ferred to a ceiling or wall with ease, and saves all the 
trouble and time in repeating drawings. 

STENCIL1NG.=*= 

Draw any design necessary to ornament flowered mold- 
ings, trusses, friezes, etc., and with a sharp knife cut out 
the principal parts of the drawing, only leave as much as 
will connect and keep together the sheet in duo form, then 
take a short brush with the color required, and not too 
thin, pass over the sheet carefully avoiding the liability 
of under-blotting, when the design will be painted entire 

*IT()W TO TiiKPAKK Papkr FOR STKXCri.iNc;. — Coiit tlif slieets 
of papi'i- witli hdilfd oil first roat. Hkmi <,'ivc tliciu three iiiorc coats 
of oil paint, tlir-y will then stand the mixture of the water color and 
action of tlie brush. 



58 hanky's manual op 

(willi llio excoplion of the small parls wiicro tlio eonnec- 
lions were), which can he touched up wilh a small hrush 
with the .same color. 

This method saves a ^a-eat amount of laI)or, and for sncli 
pieces of work answers very well ; all that has to he done 
is simply' to put ill the shade linos along with tlie others. 
]\rany ornaments are done in this manner, and to the fresco 
])ainter is a <:reat economizer of lime. Every appliance 
tjiat can be adopted ouj^dit to he hiought iido recjuisition 
to lessen lahor, and therehy add to tlic! remunerative in- 
terests of ])hysieal action. 

In conclusiun, 1 would say, ix-rseven^ and the result is 
sure. 

ORDEllS OF AUCUITEC'J'inM:. 

'I'he painter of interiors lias c(»nstant nse for pillars, 
rolunnis and ])ilas1ers. We }^iv(!, therefore, a specinum 
colunm of <'ae!i principal order ot an'hitecture, with tlxi 
tec-hni(;al desi'^nations of eacili part. 'The ])ainter must 
constantly renicmher that these are only flat representa- 
tions of solid bodies, and he sliould study every fine row 
of columns that may ci)m(! under Ids observaticm, and 
cnlar}:;e his knowledge ])y the! study of some com])lete work 
on architecture; and followin,!]^ these pillars W(! t^ive a few 
desjo-ns for ceilint^'s in fresco. Also an ornameidal scroll 
and a border for several colors. P>ut I he painter in atdive 
])racti(.-o will constantly fmd use for larj^er collections of 
designs. ]\n should also be ready witli pencil and sketch 
book to copy anything new wliicli he may see, and to in- 
vent designs for himself. 



1 



Ovolo 



3 



I / 

• 5 

L ) 



Apopliyges 



Astrngnl 



^Jj Bead, No. 1 



^ 



Bead, No. 2 



« 



T 



Ci'ina nc(!ta 



Opop, or C'yinii 
Keversa 



10 



11 



12 



13 



14 



V Scotia 



^ Quirk 



cd Ogco 



_y Quirked Ovolo 



"^ 



Facia 



59 



TXTSo.A.5sr onrjEn. 



T 



J_ 



?^ 



Cavetto 
OvoU) 



Cavetto 



5 



s 



I Facia 
^ Abacus 

Astragal 



Torus 

I'liuUi 



60 



laortia onrsEpi. 




Gl 



/, 



Cyuiatium^ 

Corona 
Modillioiis E^^IJgL-mSI 

Deuteumnujji 




Torus [[|[;^ L,ljlJ,l 

Si-OlKl ' 

Torns 
riiuthr 



lou'ia OFt.n'E'R. 



Echimis 
Corona 



d Cymatium'^ 




BOEDERS. 





Gt 



SIGX, CARPJAGE AND DECOKATIVE PAIXTIXG. C.> 



COMBINATION SCROLL. 




G6 



nA?;ETS MANUAL OF 



COKNEKS. 




SIGN,- CARKIAGE AND DECORATITE PAINTING. G7 



WALL DECORATION IN TINTS. 




GS 



haney's manual of 



WALL PANEL DECORATIONS. 




^^» 



SIGN, CAKEIAGE ANT) DECORATIVE PAIXTING. 



69 



WALL DECORATIONS. 



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70 



HAIfEY'S M^LNUAJj OF 



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SIGX, CARRIAGE AND DECORATIVE PAINTING 



71 




72 



HAKEY'S ilAXUAL OF 




SIGN, CARRIAGE AND DECORATIVE PAINTING. 73 




74 IIANEY S MANUAL OF 



A COMPLETE SYSTEM 



COACH PAINTINQ 



Tins is a Ijnuicli of the art, of groat importance, yet one 
but very imperfectly kuown to the masses. One reason for 
this statement is that coacli painters geueraily keep a very 
close surveillance over visitors, few, if any, are allowed to 
enter iheir W(»rksh(»ps, and no class of painters are so un- 
v/illing; to communicate any of the principalb- or theories of 
their business. 

House painting, sign painting, etc., are branches of the 
art that cannot be well concealed from the ])ublic gaze, for 
the operations are so common, and of every day occurrence, 
that any perscm of moderate ability can soon oI)tain sutli- 
cient information to enable them to do a jiassahle piece of 
work, esjiecially in house ])ainting. draining recpures not 
only good judgment, a true sense of the various woods and 
marbles he wishes to imitate ; l)ut also the organ of imita- 
tion well developed. Sign i)ainting ])eiiig in ])art meclianical, 
has been acquired with more ease than many other branches 
of the art, yet there are some points got ridy by long ])rac- 
tice and through the help of others in the same line. 

l?ut, ;is stated above, coach jiainting ditlers so nnich 
fn»m any of the above in the nietliod, mixtures, etc., that 
even a good ('lear knowledge of any of the others is of no 
use when a])plied to coach ])ainting. 

Ln starling with giving the ])upil a correct idea of coach 
painting, it will be necessary first to mention the kind of 
materials, tools, etc., re(iuired. 

In iio braiu-h of painting sluudd more care and knowl- 
edge l)eeni[)loyed lli:ui in selecting the most suitable stock 
l)efor(' commencing a ])iec(^ of v/ork ; for without p;iying 
strict attention to this fact, good Vv^ork cannot be done. A 
first-rate coach painter cannot execute a piece of work to 



SIGN, CARRIAGE AND DECORATIVE PAINTING. 75 

advantage with poor materials ; the paints nuist be of tlie 
best quality, varnish, japan, oil and turpentine dryers, etc. ; 
let those be good and the chances are all in your favor. 

MATERIALS REQUIRED. 

White lead, B. B. brand, ground in oil. 

Same quality, dry. 

Japan dryer, No. 1. 

Black Japan. 

Body copal varnish (flowing). 

Body (hard), for bringing up the work, for rubbing down 
and using in the previous coats, then finish with the body 
flowing. 

Carriage varnish, Nos. 1 and 2. 

Drop, or Frankfort black. 

Chrome yellows, of all shades to orange. 

Indian red. 

Vermilion. 

Venetian red. 

Orange mineral. 

Red lead. 

Scarlet lake. 

Crimson lake. ) n , • i i • i 

Purple lake. } ^«"^'' ^^'^^"^^'"^ ^"^^^ ^''''^- 

Yellow lake. 

Carmine 

Purple Brown. 

Burned Umber. 

Raw Umber. 

Burned and Raw Sienna. 

Chrome greens, assorted shades. 

Olive, or quaker's green. 

Ultramarine blue. 

Prussian blue. 

Cobalt blue. 

French yellow (ocher). 

Whiting, best quality. 

Ground pumice. 

Pumice in lump. 

Rotten stone, very fine. 



76 haney's manual of 

Tripoli powder. 

Granulated zinc (putty powder). 

Fine wheat flower. 

Olive oil for polishing. 

Brushes of suitable sizes, short f(»r painting. 

Oval hound varnish brushes. 

Sash tools, assorted sizes. 

Pencils, large and small (sable). 

Long liners for striping (camel hair or sable). 

F(tr fine lines, long black sable. 

tSand paper, assorted numbers. 

Emery paper, for rubbing old work, viz. : iron, springs, 
bolts, shackles, etc. 

Dusters. 

A few tressels to stand bodies upon of a suitable hight. 

A wheel stand, which is an upright mortised into a . 
square block of wood, about two inches above the half 
diameter of the largest wheel ; have a pin of iron put 
through the upriglit, a little less than the size of the axle, 
and long enough to hold the wheel while painting or when 
striping. And another, made witli a block or stool, with an 
upright bolt or i)in from the center, so as to place a wheel 
upon a horizontal j)Osition. 

A bench for the flag and muller. A small paint mill 
attached to the bench for grinding colors. 

A square putty knife. 

A diamond pointed putty knife. 

A ])allet knife. 

A flat flle. ) f , . 11 , 

. 1 If 1 /■! } bir cleaning did work. 

A half round file, j ^ 

Flat broad chisel. 

Flat scraper, or old plane iron, used when firing off old 
paint. 

Varnish pots (tin), with a win; a(;ross the nioulli to 
wipe the brush over. 

J\iint cans, assoi'ted sizes. 

Oil cans, etc., marked for boiled and raw. 

Turpentine can. 

Japan can. 

Cloth, double milled, for rubbing the varnish coats. 

Sponge and chamois skin, etc. 



STGX, CARRIAGE AND DECORATIVE PAINTING. 77 

Having mentioned almost all the necessaries required to 
fiirnislx a coach painter, I will now proceed with the (^cn- 
(?ral instruction for preparing a carriage for painting. 

i'irst, take and dust all the machine carefully before tak- 
ing it into the paint room. Have two boards like small 
table tops connected by a bolt in the center, so as to re. 
volve when wanted. Place these upon the tressels, then 
take the body off the under carriage and set it upon the smalV 
tressels before mentioned, then take off the wheels and let 
the carriage rest upon the asle on a tressel of a proper 
flight, same as the wheels ; take the wheel stand and place 
upon it one of the wheels, then the work will be all easy of 
access and ready to commence i)ainting. 

In coach painting very little oil paint is required, and 
here is the difference that occurs between house and coach 
painting. Only two or three coats of oil paint is sufficient 
in bringing up the work. This we call priming. Just give 
as many coats as will carry out a slight gloss, no more. 

The best oil for this purpose is good drying oil, say two- 
thirds oil and one-third tur])entine, and have a little of the 
fine litharge ground into it, about two ounces to twenty 
pounds of paint. The litharge causes the paint to become 
bard, and rub down better than if only drying oil alone 
was used. 

We mention litharge because it is the best dryer for this 
purpose. Patent dryer is, no doubt, convenient, l)eing al- 
ready ground, but it never dries paint so hard as litharge, 
nor rul)s down with the sand paper so well, being more apt 
to hang to or clog the paper-, and roll or draw upon the 
work. 

r After all is first coated and dry, take your sand paper 
and rub down very smooth, making sure to cut down all 
inequalities, ridges, or deficiencies in finish by the coach 
builder, otherwise by neglecting to do so on the first coat, 
you would have the mortification to find that those places 
would cut through in your second coat, thus losing your 
time to a considerable amount. 

You now dust your work carefully, and mix up some 
putty (b(!tter make your own) v."ith whiting and oil (raw 
oil) and about one-fourth part white lead, and work into it 
while kneading it, a little pulverized litharge to make it 



78 K.-U^ET'S MANUAL OF 

dry g()()(] and bard. This is very important, as tlic putiy 
sliould be dry, otherwise it would rub up in the pro- 
cess of the "work, and spoil the entire job. Observe that 
the putty must be stitf, and well worked up, before using 
it. You now take your putty -knife and till up every crack, 
crevice, knot hole, etc., etc ; level every inequality smooth 
and tine ; study rather to have your tilling-up rather high- 
er than otherwise, for you will put that all right when rub- 
bing down the next coat, but if below the level, you have 
to commence puttying again. That is bad work, so be 
sure to putty carefully. All this done, then dust oft" the 
work again, previous to second coating. Should your col- 
or be too stout or thick, thin with turpentine, but be sure 
not to use thin color, for it not only covers badly, but rubs 
down very tacky. 

For all dark colors, use a dark lead color for your oil 
coats — '"merely black and white," but, for pre])aring for 
any such color as light green, let the color be light lead 
color. 

If for a yellow, begin with white, or slightly tiuled with 
a little chronie yellow. 

In laying your second coat, be sure to lay it regular, not 
fat in some places and spare in others, but as far as pos- 
sible an equal fair coat, and we would wish to guard you 
against one of the very worst faults a painter can commit, 
viz. : to leave full or fat edges u})on any ])art. of the work, 
such as the springs, shackles, bolt-heads, or luits, or any 
part of the carriage, for if left by neglect, tliey will tell 
upon you at some stage of the work, and at a time, pos- 
sibly, when you cannot well rej^air the evil done; therefore 
be <'areful. 

AVhen this second coat is dry, examine minutely, that 
you have missed none of the places requiring putty. 

The second coat being thoroughly dry, proceed to rub 
down with your sand-paper, using a finer quality this time, 
so as iu)t to cut so deep, ho])ing that all projections have 
been cut down ujion the previous coats. Now dust off 
your work, and commence to give the third coat, putting 
on a very tight coat (tiiat is, rubbing it out well, uot too 
n)uch paint). 

After the work is all dry and bard, you next proceed to 



SIGX, CAERIAGE AXD DECORATIVE rAIXTING. 79 

giving the filling np cnals. Filling is ,a mixturo proij.ircd 
as follows : Take dry French yellow, litharge, a little whito 
lead, whiting — say about one-sixteenth litharge — a small 
quantity of white lead, a small amount of whiting ; a little 
red lead will also improve it; take your dryiug Japan and 
pour in as much as will nearly mix it; put in a very little 
drying oil, very careful not to have too much, otherwise the 
filling will be soft and tough ; turpentine to thiu to a 
suitable thickness, to make it spread like a stiff coat of 
paint. This filling must be laid full, a coat to flow on 
freely. A little practice is necessary to find out the 
exact quantities of thinners to be used in piixing good 
" filling up stuff." After all is right, commence to coat 
your body, laying it fullest where you see any hollow or 
want that you cannot putty very well, as this is really its 
use. Then, if a good job, coat your shafts, springs, 
wheels, etc., etc., etc., and when all is done over, let it 
stand until all is perfectly hard (try with your thumbnail) ; 
if it feels hard and don't peel np, it will stand another 
coat. 

In the most of cases, two coats of filling will be suffi- 
cient. The last coat must be allowed to dry hard, as it 
has to be all rubbed down with lump pumice stone. Rub 
the pumice flat upon a stone before you commence rubbing 
down carriage work. 

When the student begins to rub he is to be very cau- 
tious to avoid cutting through, and here he will find a 
" proof" whether or not he has paid attention to rubbing 
down carefully with his sand-paper, for if lie has not, of 
course his pumice will cut in all places neglected, as stated 
above. 

In rubbing down with lump pumice, you must use plenty 
water ; keep your sponge in your left hand, and supply 
water whenever required ; it will cut quicker, and not be 
liable to roll up, as it would undoubtedly do if not kept 
perfectly wet. Draw your finger or side of the hand over 
the parts you are rubbing and you will see when you have 
it done enough, that is, all perfectly firm and smooth. Then 
yon have done all that is required. Take your sponge and 
wash off all the work ; wring out your wash leather (cham- 
ois) and dry off the Job ; then if all is perfect, all filled. 



80 nANF.Y'S ART OF 

tlio wnrlc will feel like a piece of ivory, (juiic smooth and 
level. 

A panel or piece of coach work cannot, he got level or 
fit lor finishiuji' without heiug filled up hy this method, for 
the p-rain of the Vv'ood will ahvays l)e more or less seen un- 
less done so. 

We now come to the next stage of operations, viz. : 
color. 

Whatever color the carriage is to be painted, the color 
must be fresh ground, as it is a mixture that drys very 
(piick. 

If you want a dark green of the oliv(^ shades, you take 
deep chrome yellow and drop black ; have your black 
powdered ; mix the two together in a pot with the drying 
Japan, and a little turpentine — not too much s])iritsal; first, 
as it would not grind vrell if thin ; put your mixture into 
the bench mill and grind it into a clean pot (always wash- 
ing out the mill, to keep it clean), then see if the shade is 
of tliG kind dt'sired ; if too dark, you want more yellow, 
or vice versa; if the color is wanted warm olive or quak- 
er's green, ])ut in a little India or Venetian red. 

Now lake a clean brush, and make up the color to the 
proper thickness and commence work at once ; as the color 
drys or sets very quick, be expeditious in laying it on. 
The same care is not now so necessary as regards fat edges, 
as the color will all dry hard. Still, av-oid all careless or 
slovenly work ; always work clean, *if you want the work 
to look well. A small drop of drying oil can be used in 
very warm w'eather, if it should set too fast to allow time 
to lay the color, yet an expert never uses any oil, and it is 
J better not to use any, unless you wish to let the work 
stand for a longer period of time than usual. By working 
tfie color free of oil, two co;its per day can be given easily. 
Two coats of this color will be sulTicient. I have often 
done a good ]>iece of work with one fiowing coat. 

All plaiii colors are done in the same manner 5 all opaque 
colors that cover well lequire no more. 

Greens, browns, olives;- yellows, etc., etc., but for an ul- 
tramarine blue, the work has to be got up very diflerently. 

You must ground uj) after your filling has been rubbed 
down, w^ashed, dried, etc. with a coat in " oil," that is not 



SIGX, CARKIAGE AXD DECORATIVE TAINTING. 81 

in "japan," using just so mucli oil with tlie color to keep 
it from setting too quick ; for such colors use sugar of lead 
for the dryer, in preference to japan dryers, as the color 
will be purer. Grind some good Prussian blue in oil, then 
add to a mixture of white lead as much blue as will make 
a ground dark enough for to bear the ultramarine blue, 
that is about as dark as you wish the carriage to be when 
finished. Tou now proceed to give a nice careful coat over 
' all the work that is to be finished blue. When dry, if 
solid enough, it will require no more Prussian blue, but 
generally two coats are required. 

When satisfied that your ground is good, take some of 
the best ultramarine blue, grind it on the stone with a little 
varnish, pour out some of your body flowing varnish into a 
clean pot, put in your ultramarine already ground, and with 
a clean brush mix well the blue with your varnish ; try if 
there is blue enough in it, and, if all right, commence 
to give a very regular flowing coat all over, and the 
colored varnish coat will flow on very evenly and give a 
tone and transparency, a depth of color which cannot bo 
got by using full ultramarine alone. We always recom- 
mend two coats for a coach wanted in this peculiar color, 
second coat the same as the first, only before giving the 
second coat rub down all the work with ground pumice and 
water, with a cloth. You thus remove the gloss, and the 
next coat will lay and flow better. Let the work stand for 
a few days, then rnb down again with ground pumice and 
water, wash, and dry with your skin, after which the work 
is all ready for picking out and striping, of which I will 
lay down general rules hereafter. 

CLARET OR LAKE COLORS. 

Your first coat is composed of vermilion and rose pink, 
in oil, as for blue. Filling all rubbed down, washed, dried, 
etc., dust clean, then proceed to give a coat ; this you will 
find to cover very well. When dry, give another light 
coat ; as soon as hard, rub with ground pumice and water, 
same process as for blue. Dust clean and nice. 

If you wish a very rich light claret, you must calculate 
not to have too much rose pink in your ground color, for 



83 EANEY'S IIANITAL OF 

il" you do, you will not got the color you anticipate. But 
for dark clarets, use considerable rose pink. The student 
must pay attention to these important hints. 

For the light shade, have some scarlet lake ; grind in a 
similar way as directed fur ultramai#ne ; take the body- 
flowing varnish and put in the lake; mix well, and pro- 
ceed to coat very carefully. This color sometimes takes 
three coats, but with due care, and a good brush hand, it 
can be attained with two coats. 

DARKER SHADES. 

Use more rose jiink in the ground. Then, instead of 
scarlet lake, use the best crimson lake, and in the same 
maimer as for the lighl^ claret; tvro coats will be enough 
if carefully laid. In all those colors got, the princii)al 
idea is to have a solid, true body, not sliady but fair. 

STILL A DARKER SILVDE. 

Vermilion, rose pink, a little ultramarine blue, for the 
ground. This is for a i)urple shade of claret. Ground 
good and solid. 

Then grind some purple lake, same as above ; put into 
your '• body-llowing varnisii;'' two coats will be enough, 
if managed U'ell. Should any imperfections appear, give 
another coat and all will be sure. 

TO PAINT A CARRIAGE 1>URE G.\RMINE. 

This is sometimes required for fancy machines, or fire- 
engines, hose carriages, et(^ Many ]Kiinters fail in paint- 
ing with this very valuable color, and also through ignor- 
ance of how to use it. They very generally attempt to 
get the color by the use of the carmine alone. This color, 
if pure, is worth 63 per ounce. 

Ground your work with the best I'^iUglisli vermilion ; sec 
that the color is comi)lete and solid. 

'I'iien take pure carmine, grind in a little drying oil, put 
it into the body-flowing varnish, and coat very carefully. 
It will take two coats to produfp a solid, jmre color. 



SIGX, CAKRIAGE A^"D DECORATIYE TAIXTIXG. 83 

By tliis metliod, one ounce bottle will do a whole ma- 
chine, thereby saving a largo amount of cash for carmine, 
and time, which is capital, and at the same time produce a 
very superior color to anything that can be realized from 
pure carmine. 

All the above coloi-s arc produced by what is called in 
the trade, glaizing. 

A green can be done in the same way ; laying a light 
green for a ground, then use the green lake to glaize, as in 
the clarets, carmines, ultramarines, etc. 

'^ JAPAN BROWN." 

Grind drop black in japan; add to it a little vermilion, 
just enough to see it. This makes a very rich color, and 
looks very well with vermilion lines, or an orange line ; 
either looks well. 

OXFORD BROWNS. 

Take a little chrome yellow, white lead, India red, l>cst 
ocher, burned umber, just white enough to bo seen ; yellow 
is the principal color ; red to warm it, umber to give it the 
brown tone. 

Many varieties of Oxford brown con be made by the 
adding more or less of the leading colors of the compos- 
itions. 

CHROME GREENS OF ALL SHADES, 

Or greens composed of chrome yellow and Prussian 
blue. Let all the greens be ground in japan. Being 
opaque, they all work in that way remarkably well, and 
by far superior to any attempt in oil. 

FAWN COLROS. 

Yellow, rod, a little black, or a little burned umber may 
be added, even burned terra de sienna is sometimes put in 
the mixture. Coach colors vnry from the shades in gen- 
eral use by house and sign painters. They are strictly a 
class of colors peculiar to that branch of the art, and are 



S4 HANET'S :\rAXITAL OF 

tied to no eoiiiinon estaljlislioil rule. I have seen u oarriago 
painted with the cleaning of several pots, forming a color 
that wonUl ])uzzle almost the best colorist to imitate, yet 
it looked tirst rate, although a nondescript! We advise 
the adoption of the principle, as it not only produces var- 
ieties of color but will be a point of economy of great im- 
portance, as much valuable color is often thrown away 
through this want of judgment, mto the common receptacle 
for all left colors called the " smudge barrel." 

DUABH. 

Any variety can be made to suit the most fastidions. 

Composition draljs, red l)lack, and yellow, nniber ; also 
some mineral colors, from which many fine tints can be 
made, liaw umber and white alone constitute a good cool 
dral), and can 1)0 toned either with a little '• chrome," or 
•■ red," so as to be eitlier rich, or warm. Any fancy shade 
of color wanted can be mixed with perfect ease, for very 
soon the student will acquire sufficient knowledge of color 
to mix any shade he desires. 

A COOP, DURABLE. CEHAP COLOR. 

Vermilion and Prussian blue. This is an easy way of 
getting at a ch.eap, rich piu-jde, with a small (juanlily of 
white lead. 

ANOTHER. 

; Vermiliou and dir.j) black nudces a cheap ])lum brown, 
or claret; covers well, and looks and stands well, although 
far deficient to the claret got up by glaizing witli crhnson 
lake, already mentioned ; hut for low priced work looks 
very well indeed, and will r.ot cost one-half the price; as 
much time is saved, and the materials moderate. 

Having given a general outline of colors, we propose to 
next ])oint out to the student the n;;inner of "breaking 
out," or '• picking out," as the trade term lias it. 

That is, laying in the lines or stripes, "blue ground." 
If a large carriag'e, with heavy wheels, draw lines (with 



SIGN, CAEFJAOE AND DECORATTYE PAINTING. 85 

japan mixed color) witli ground Frankfort l)lack, from 
three-quarter inch to one inch broad, on every part of the 
carriage, spokes and springs, filloes, hub, etc., etc., etc., 
shafts, etc. Then, with a light primrose, or light orange 
color, draw fine lines about three-eighths or a quarter of 
an inch from the broad black line, showing that separating 
distance clear and distinct of the blue between. 

And great care is required in drawing the fine lines, so as 
to have them true and cqui-distant. Wherever the broad 
black line is drawn, carry your two fine lines all through the 
work, bolt heads and nuts black with one fine line round 
the edge. 

For an extra finish a fine line can be drawn down the 
center of the black, a deep orange, or pure white, or gold. 
This style looks very beautiful. 

In drawing fine lines, as a general rule, the color is 
ground in drying oil, as it combines more closely, and gives 
out from the pencil much better, and makes the lines more 
regular, although for work in a hurry, where the lines are 
not required to be so fine, japan color will do. 

GREENS. 

Generally ])ick out with black, and if a light green, 
black lines will be enough. If a little more expense is to 
be gone to, run u]> th(^ center of the black lines with a 
white, and not too line. This makes a good neat finish. 

If a dark green, pick out with black, and run very fine 
line on each edge of the black, three-eighths of an inch olf 
the black. With a very bright green, that looks very nice 
indeed, or any other color to suit the taste of the artist. 

CLARETS. 

Almost all colors of this class are picked out with blac-k. 
Fine side lines are either vermilion or a rich orange; or 
side lines of orange, not too dark, and a vermilion line run 
up the center of the black ; or one large black line, with a 
gold line up the center, about one-sixteenth of an inch 

StrODii:. 



EAXETS MANUAL OF 



FAWX COLO lis. 



rick out with black, fine line with white on each edge, 
or brown drab shade — any color that will show well and 
bo in harmony. 

OXFORD BROWX. 

rick out witli l)lack, fine lino vermilion or medium tint 
of chrome yellow with a perceptible touch of red in It. 
Sometimes part the black line with white down the center. 

JAPAX OR PLUM BROWX. 

Vermilion line looks best of any color, and for cheap 
work rc(iuires nothing more. 

BLACK BOLTS AXD XUTS. 

Some dark colors (very dark) look well to pick out with 
drab, or fawn color, edge lines vermilion, center line black. 
This looks very clean and showy. 

OLIVE, OR QUAKER'S GREEXS. 

Pick out generally with black, fine line with white, 
orange, or light green. 

DRABS OF ALL SHADES. 

Pick out V\-ith black, fine line with vermilion, or orange 
liigh colored. Extra finish, center line white. 

PURPLE. 

Pick out with black, fine line with a bright line of orange 
or lilac, or with vermilion. 

These remarks api)ly to most of the colors in use by 
coach ])ainters, although there can still be a greater var- 
iety of work done than we can enumerate, which can be 
put in practice at any lime. 

The next operation is to varnish. Xow, it appears a 



SIGN, CARRIAGE AND DECORATIYE PAINTING. 87 

simple process, but it requires not only great practice but 
considerable ''knack." One tiling must be understood and 
put in practice, viz. : never use a dirty brush or pot ; keep 
your brush in a narrow tin case or canister in raw oil ; cut 
a hole in the to]) large enough to admit the handle of the 
brush, and bore a small hole through the handle to admit 
a piece of wire to hold it up from the bottom, for if the 
point of the brush touch or rest on the bottom, the bristles 
will be turned, consequently will not lay the varnish close 
and smooth. Wash the brush out clean witli turpentine 
before using. 

Then pour into your pot (if for the under carriage) some 
carriage varnish, and work in your brush thoroughly ; then 
start either upon your wheels or carriage first, it is of no 
importance which ; lay a full coat, never pinch it, for a 
half coat of varnish is always poor and hasky, and never 
yields a good gloss. When all your carriage work is done 
pour back the varnish into your can, then take some body 
varnish and give your first coat to it also ; then let all 
stand until it is quite hard and dry. 

Then take your ground pumice and water and cloth rub- 
ber (woolen cloth) and wet it well ; then have some pum- 
ice on a board or plate convenient, dip the clo^h in the pum- 
ice and commence to rub every part of the varnish, taking 
great care not to run through any of the ground, or lines, 
but merely to remove the gloss. This we call flatting the 
work. Then wash of all the pumice thoroughly, and dry 
with the wash leather, which must always be used wet ; 
just wring it out of the water as dry as you can, and it will 
dry best ; never use it dry. You now examine the work 
carefully, and see if you have cut through anywhere; if 
you have, you must touch it up with japan color, so as to 
dry soon, then you can begin your second or last coat. 

A very good job can be done with two coats. Give a 
very full coat, almost to running, and lay it otf very clean. 
When you do the wheels, a full coat, take and spin them 
upon the standard for some time, indeed until nearly set. 
This plan is not generally practised, but it gives a very 
superior gloss, and secures the danger of the varnish run- 
ning, a very important point, and one not easily got quit 
of, and about the worst eyesore that can occur. 



88 HA^^EY'S ifAXUAL OF 

If tills second coat uo not ploaso yon, flatten the coat 
aijaiu witli your pnnnce, clotli, and water ; wash and dry 
as before, and then give a reasonable coat carefully. 

In good jobs, where it is reqnired to be polished, you 
must commence with tine ground pumice ; do not depend 
upon the fineness of the pumice as sold, but, for this pur- 
pose, take and mix with water, then grind it upon the flag 
very fine, then there will be no danger of scratching. 

Hub just enough to bring all to a perfect smooth state, 
rdl brush marks removed, then wash very clean and dry 
\\'o]\ : then dust carefully. But always before washing, 
drying, etc., sweep out your floor, and sprinkle with water 
to lay the dust. The same precaution is necessary always 
before varnishing, for dust getting into the varnish will 
cause ilie work to look ''seedy," or lousey, as Iho paiiiters 
call it. 

Your next operation in polishing is lo take rotten stone, 
finely sifted through muslin, and mix in olive oil; take a 
piece of fine ch)th for a rubber, and rub every piece very 
carefully, which will again restore the gloss by reducing it 
to fineness again; rub off the rotten stone occasionally 
Willi the side of your hand or finger, and you will see if all 
is jiolished enough. 

Then, if all right, take and wipe off with a piece of soft 
old cotton cloth, free of dust, then take some fine wheat 
fiour, and a piece of fine flax full of the flour, rr.b all the 
work over so as to take np all the oil and rotten stone that 
is upon the work, then with an old silk handkerchief wipe 
all the work np pretty smartly, and if all has been don(^ 
right and with care, the work will have a very fine, bril- 
liant gloss. 

Some finish with putty powder, and olh.ers use Tripoli 
instead of pumice. But the above i)rocess answers every 
])urpose tliat is recpiired. But when the work is intended 
to have a ])olish and hurnish finish, always give au extra 
coat of varnish, as it is not good policy to attempt polish- 
ing on two coats of varnish, for such work is generally 
left from the brush if clearly varnished. 



SIGN, CARrvIAGE AND DECORATIYE PAINTING. S9 



REMARKS. 

In paintini? ilie Ixxly of any coach or machine, tlio same 
order in regard to lines, colors, etc., must be strictly at- 
tended to, so as to have all in keeping. The black part 
of the body is done with drop black in japan and spirits, 
and the lines must be introduced, if there is any number 
on the body, suitable. 

The black of the body will require two or three coats to 
make a sure cover, and never attempt to varnish on a poor 
ground. 

I cannot account for the method that is practised in this 
country by coach-painters in bringing up the black wor 
of a coach. In England we give a coat of dark lead color 
as a first coat, then give a good full coat of drop black in 
japans, as directed for grounding. Then we take the best 
black japan and give two or three coats of that, rubbing 
down with ground pumice and water, every coat same as 
far a coat of varnish ; after this we give the body one coat 
of the fine flowing body varnish. This method will give a 
jet black, while the other will, when varnished, be simply 
a gray black. But I believe the reason why the painters 
adopt this plan is because the black japan manufactured 
in this country, is, for some reason or other, very liable to 
crack. Such is not the case if the London coach japan, 
manufactured by Noble & Hoar, is used. The finest jobs 
done in Europe or England are done with this fine black 
japan, and it is, no doubt, the best method ever adopted. 

All our coach painters use English coach varnish, dry- 
jing japan, and also l)lack japan ; those, I mean, who do 
^■. the best kind of work, as they cannot depend upon the 
home manufactures. 

There is some particular secretin varnish making, known 
to but few. Penny's body varnish, Noble & Hoar, of Lon- 
don, for carriage varnish and black japan ; Kersley & 
Sons, Eipon, England, and Williamson & Son, Ripon ; 
these are tiie most celebrated makers, and supply most of 
the United States, France, and other European countries. 

Lawrence Bradley & Pardee, New Haven ; Wood — in 



90 HANET'S MANUAL OF 

fact all our coach builders of any iiotc — use lliosc varnishes, 
aud Ihey cannot rely on any other. 

FACING PUTTY FOR SMALL FLAWS. 

Mix whitiug, a little white lead, litharge a small quan- 
tity, with japan dryers, and add a little drying oil — very 
little ; work this very well, not too hard, and use it 
quickly as it sets very soon. This putty will rub down 
very soon, and not tear up with the pumice stone or 
sand paper. 

FIRING OFF. 

Firing off is a term used b.y painters. Some use a 
gas burner attached to a rubber hose pipe, so as to di- 
rect it to any portion of the work required to be cleaned 
off. The heat causes the paint to soften, so that it can 
be easily removed by the blunt chisel, or plain iron ; 
then can be reduced to evenness by rubbing down with 
lump pumice and water. Another method is to take a brush 
with turpentine, lay on a coat upon one ])art. then, with 
a match or candle, set fire to it. When the old paint 
becomes soft enough, blow out the flame, aud remove with 
the chisel, etc. Another way is to hold smoothing irons 
to the part, and, if very hot, the paint will soon soften 
so as to be easily removed. 



In conclusion, I would state that liy attending to the in- 
structions here given, and by a little practice, any man of 
moderate ability, a steady hand, etc., will very soon have 
the satisfaction of turning out a good piece of coach- 
painting. Striping, if well done, tends much to the beauty 
of the work, so the student will have to practice 
this department with care. Hold the pencil between 
the finger and thumb and guage with the fingers, keep- 
ing the thuml) uppermost, and drawing the hand back- 
ward; by this means he will draw the lines straight and 
quick — one pencil full will run a whole spoke, from the 
hub to the feloe, all but a small piece, which he must 
join, by drawing from the feloe to the line. 



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Columbia, Penn., Spy. 

" It soeras to be prepared with groat care, and it is belic3ved to be reliable."— 
Topelca State Record. 

" Wo have glanced over this work, and in doing so we noticed a number of very 
seful and valuable combinations." — Masonic Mirror. 

" Tho book should be in tho posse.s.'<iuu of everyone." — Manldem Sentinel. 

Handbook of Ventriloquism. 

To those who desiro to acquire this amusing art, this little book will prove highly 
acceptable. By its aid any one with tho ordinary powers of speech can, witli a 
little patience, become a ventriloquist. Interested parties pretend that a spo 
cial " gift" is required, but though some undoubtedly have more taste f'>r it am? 
learn quicker. Ventriloquism is an art, to bo acquired like any other art. We knoik 
<ii quite a number who have learned from followius the directions in our Hand-book 
Tho book also tells how to make the MAGIC WHISTLE for imitating birds, animals, 
insects, saws, files, and other peculiar noises. It is easily made at no cost, but 
requires some pracWe to Ufe effectu.ally. Price Fifteen Cents. 

" This littlo mmual contains simple and explicit instructions lor acquiring the 
art of vontriloquism. Couched in language which a child can understand, tho rulcj 
are so few and so easy, that a littlo practice will enable any one to produce the 
most wonderful vocal illusions." — New York Atlas. 

Night Side of New York. 

Tnis is an intensely thrilling and fascinating work, of largo size, showing up 
the various scenes and peculiarities of the Great Metropolis at night. It is tha 
work of a number of writers whose ability is unquestioned. No one man could 
write such a book alouo ; and the present writers, by combining their knowledge 
and abilities, have produced vivid and interesting pictures of New York. Every 
scone described and every statempnt made in tho work is slricHy truHifiU in every 
particular, and we bclicvo uo wort of fiction ia moro dd'ply and thrillin;;ly inter- 
tttuig. lUuslraldd. iTioo 'f wv.jty-livo couti. 



ROGUES AND ROGUERIES. 

A •j'5w, revised, and enlarged edition of this work bag 
just been issued, including:, in addiliou to its former ex 
posures of fraud and rascality, full descriptions of all 
the new humbugs and swindles, so that the work bow 
includes all the principal " dodges" by which the thought- 
less or unwary are victimised. " Rogues and Rogueries" 
has been the means of putting thousands upon their guard 
against the sharpers who so skillfully set their snares, and 
who so persistently prey upon the public. Fraud often 
lurks under the most innocent guise, and even the wisest 
and most cautious persons cannot always be certain that 
they will not be defrauded. Read this book before you 
send your money to any unknown person. Read it before 
you embark in any scheme, however plausible it may ap- 
pear. There will be no harm done, and you may, thereby, 
[earn something of which you were not aware, and bo 
saved the mortiiication and loss you might otherwise incur. 
All the tricks and traps of groat cities, all swindles through 
the malls, jewelry and gift schemes, petroleum and mining 
swindles, quack doctors, lotteries and '' policy" schemes, 
fortune-tellers, gamblers' tricks, patent safe dodge, matri- 
monial advertisements, pocket-book dropping, thimble- 
rigging, couceri". saloons, love powders and dangerous cos- 
metics, situation agencies, sewing machmc swindles, travel- 
ing swindlers, conlldence operators, professional beggars, 
coimterfeitcrs, and many other classes of sharpers too 
aumerous to mention. The book is both intereiiing and 
valuablt in a rare degree. 

" Its perasal will be attended not only with pleasui'c, but 
with profit." — Jersey City American Standard 

'• A valuable and entertaining work on the tricks, traps, 
dangers, and temptations of the great metropolis. • ♦ • 
To the uninitiated in mysteries of life in a large city, the 
" Rogues and Rogueries" will prove of unfailing interest." 
Watchman, Monticello, N. Y, 

" New York and other citips are full of traps for the 
" green 'uns," and it is much better to know all about ihem 
than to Incur the liability of buying tke knowledge by ex- 
perienoo at a high figure. We therefore command ckw 
book to the uninitiated. — Yankee Blade. 

]Uustrated. 

Price, orAy Tv7enty-five Cents. 



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HANEY'S GUIDE TO AUTHORSHIP, A 
valuable aid to all who desire to enp;age iu literary 
pursuits of any kind, for pleasure or urotit. Coiitaiuiug' 
concise and practical instruction in the various kinds of 
prose and poetic composition ; sensible advice on all points 
where difficulty Is usually encountered by inexperienced 
writers ; hints for overcoming natural defects and achieving 
Euccess ; in short sound and useful information on the 
various subjects pertaining to the art of authorship. The 
book also contains chapters on proof reading, punctuation, 
editing, estimates of the cost of printing and publishing, 
preparation, value, and disposal of JI.S., copyrights and 
legal rights of authors and publishers, and other matter 
useful to professional and amateur writers. 50 cents. 



PHONOGEAPHIC HANDBOOK, FOR 
self instruction in the modem, perfected and simpli- 
fied art of shorthand writing as practised by practical re- 
porters. This is the only cheap book teaching shorthand 
as at present used, with the recent improvements. The old 
difficulties and contradictions are done away with, and the 
learner has only a fractional part of the labor involved in 
g .2 3 learning the old, and now seldom used, methods. Phono- 
rt 0) w graphy is useful to every person, and no one having any 
S -^ § spare time should fe.il to learn it. 23 cents. 



§=3 f OMMON SENSE COOK BOOK, a reliable 

C.S2 ^^ guide for the preparation of a wide range of dishes 

*i3'^ suiting all tastes and all purses. One decided attraction is 

►: g .2 the number of delicious but inexpensive preparations which 

Sj^o are included in the work. It is free from those errors so 

.■5 M^ common and so aggravating in many even high priced 

b 3 books, and the proportions of ingredients are carefully giv- 

J2 01 1^ en, as well as their manipulation and proper serving up. 

§ « S The book contains a very large amount of matter for the 

•0^2 price, and even if j'ou already possess a good cook book, 

P g-3 you cannot fail to find many things iu this one amply worth 
the iirice. 30 cts. 



>o-: 






HANDBOOK OF VENTRILOQUISM, and 
how to make the Magic Whistle. l/> cts. 
" Really a valuable aid." — Boston Wide World. — "Will 
enable any one to produce the most wonderful vocal illu' 
sions." — N. Y. Alias. 

JE.S.SK HANEY & CO., IID Nassau-st, N. Y. 



Self Cfre of Debility, Consumption, 

Dyspepsia, Nervous Disorders etc.— It is a fact that 
niost of the disorders, to treat which quacks pretend re- 
quires rare skill, special traininp and lonif experience, aro 
really the very ones in which self-treatmeut is best adapted. 
We cannot here enter upon the deceptions and frauds prac- 
tised by advertising " specialists," but, it is a fact that not 
only are millions of dollars wasted, but often lives mined 
by their treatment. Quackery has been pretty fully ex- 
posed in previous numbers of Haney's Journal, but we 
truly believe this Txiok will do many times the good we 
have been able to efl'ect, for being able to cure himself by 
following its instructions, the reader has no occasion to con- 
sult any advertiser, and so runs no risk. The book des- 
cribes the various causes of feebleness and lack of vitality, 
and the ailments to which they give rise. Then it show.i 
how tendencies to even hereditary diseases may be kept at 
bay; how the constitution may be invigorated by judicious 
exercise, etc. ; how to cure many ailments by simple changes 
of diet, habits, etc. ; and how, in short, to secure the great- 
t^st degree of physical vigor possible in any case, as well a« 
pointing out the dangers of empirical treatment. There is 
a \7\do range of subjects included, all important and all 
clearly and accurately treated. It is a pood book, and one 
whose guidance may be safely depended upon. It adver- 
tises no d<X"tor or medicine, and the treatment recommended 
requires no outlay for fees or prescriptions ; there will be 
very few cases where any further !iid will be required than i« 
afforded by the book itself; in those few cases the author 
advises (and wo second it fully) ai>plicalion to Iho reader's 
own family physician. Itis'alniost needless for us to say that 
there is nothing in this hook to pander to any prurient curi- 
osity or vicious tiiste. Thereare no illustrations. It is .1 work 
which has been much needed, and it fully answers all re- 
quirements, being prepared with remarkable ability and evi- 
doutly with the most conscientious aim on the part of the au- 
thor to guard and save the inexperienced, tor whose spec^ial 
beiiefit are several chapters of vital moment. It fcs worthy 
the examination of the medical profes.'^ion, parents, and 
teachers; and there are some points which might suggest 
to our legislators the desirability of even more strint;ent 
measures to protect our youth from the snares set by de- 
signing persons, and certain dangerous promoters of vice 
more or less openly advertised in even iamily papers. 

This wo copy from IlANEY'S JOi:RNAL for the benefit 
of those needing an effective and reliable treatise on the 
subjects mentioned. It may be procured of any bookseller 
or by sending 75cts., the regular publishers price, to JESSE 
Haney <fc Co., 119 Nassau Street, New York. Our read- 
ers can call at Messrs. Haney &. Co.'s, or at any bookstore, 
and examine the book thoroughly before purchasing, and 
they need feel no obligation whatever to purchase unlesi> 
they desire to do so. 



A complete guide for amateur or professional trainers, tspiiiniag tne moet 
approved methods of tbe most oelebxateil and eucoessful traioeM, ttioronglily 
initiating tUe reader Into ail tbe secrets of tbe profession, exposing vanoua 
bogus "charms," &c., sold to the credulous at high prices, aad telllne, la 
fact, everything connected with the art of breaking, timing, and training all 
kinds of aaimals. It includes a new and improved method of horse and colt 
brei^iug, selection of horses, miuagement of farm auimals, watch and sport- 
ing do jj, aud a complete, system of teaching all t-irjus Tricks. Besiaes all 
these, it h-i3 a chapter oa Snake-Charming, coaptars oa Singing, Tilting; and 
perfjrmina Birds, ioclaiiag iniormatija which is alone worth tha piii^i of 
the book to any bird owner. 

Ai Ilea of the boDk may be gleaned from the following partial synopsis of a 
lew eft ie chapters : 

Horte Tammy anj Horse Training. — How to manage a horse, conquering 
vicious and braikiag wild horses, kindness and firmness, curing stubborn 
disposition, the timers toola, to teach a horse to stop, to teac'i a hore to back, 
to make a horse folloiv you, to stiud without holding, whip training, to drive 
without bit or bnd> tocu:.^ bilky horses, to prevent harnessed horses run- 
Eiug away, to Instantly stop a runaway horse. 

Trick Horsea. — Apuliinces used in teaching tricks, to teach ahorse to sit up, 
to kick at command, t ) answer questio is, to jump, to stand erect, to " pirou- 
ette," pe^estj.! feat-^ to kiss, to Jetch and carry, to find hidden aiticles, to select 
chosen card, to hr^- pistol, to dance, tj eat at table, to play hand-organ, to 
feisn lameness, lo walk over you, &o. 

Performing />.^f/?.^S:mpletrick3 and t.'-aining, to teach him his name, to leap, 
to walk erect, t J dance, to Juoip rope, 1 5 sit and lie down at command, to 
beg, to give his pavv, t > sneeze, to speak for it, to fetch and carry, to brim; you 
his tail in h'S mouth, to stand on a bill and roll it up and down a plank, to 
walk on Btilts, t J go up and dowu a ladder, to stand on his head and walk on 
fore logo, to "Bin-,'," lamp of Buaar trick, to f"ign death. 

^Voll^lerful FiinU of /^ii^yi.— L'tUebrated canine pt>rformers of tbe world, to 
teach dogs the alphabet, to select from a number of articles any article called 
lor, to place any article In a'jy plice directei, or give it to any designated per- 
son, to eat aoy article of food and leave auy otber, as he may be orlerea, to 
play dominoes, " Munito" and " Mile. Hianoa," their wonderful performan- 
ces, how they were really achieved, tricks of exhibitors, as well as tncka of per- 
fb'-mers, reft education vs. clever deception, full details of training, canine 

&0 OIB. 

And ovF.a twentt other chapters. Gloi^s more information about training 
anima's in a sinyle chapti'r than ant/ other entu-e work. It is cram full of etc^ries 
and anecdotes about celebrated performing animals, and is a most interesting 
and readable book, even to those who care little for tbe mere secrets and in- 
etructious. Over >Jt)0 largo r2tnn. pages, and ever GO illustrations. Only 
50 cents in paper covers, and $X.O() in cloth binding. 

Just published, audmay be had of all booksellers, or by mail, post-paid, oa 
receipt of price. T/ade supplied by News Companies and wholesale houses. 
JES.SK II.WEY & CO., 119 Nassau St., New York. 



" EvJry man w'li owns au animal, iroin a horse to a canary bird, sh»-JJ havo 
a copy. It will te.icli him more in a ^\aek than he could loam in a '•.'.o-iinie with- 
out It. .. .No moio acceptable book could ba put into tbe handji ^» boys who live 

In tho country It will at cnce take itu place as astaadard work ... Wo do not 

know ot a book better worth thi price a.sked for it."— .V^'to York Eominj I^esn. 

* It seems to bo a gui le not only to teaching the niore intelligent of tbe dumb 
beats good tr'.ck.s, but also of breakiutj them of b.nl (iue,J."— P/-ou Morn.Hnrald. 

■' It 13 higbiy spoken ul by those cap ibio of judging. ' — Chicago Eoe. Journal. 

" Willcoiumeud itself to most readers interested iu animals."— iiuiiore Koeri- 
ing Traveler. 

■' The auscdotes are quite amasiiig, and will eutortiiiu both old and young "— 
Advance, Chicago. 

" Tao general mathJd roccmraon led i3 loasoaable."— Broo.i/^n Daily Eagle. 

' A mora complete manual of Iho art ot animal training Ihaa this would be 
difficult to im.igiao."— iV. Y. Evening Express. 

'•The teachings are very clear, and tbe lUustratloas numerous, leaving nothing 
In thedarii "— vl)(ie,-i<;a» Union. 

•♦ Wttii all itsprecisiiin, it is by no moan.? a purely didactic work, but mingles 
with it? cl3ar direcUous a number of ploaaaut l'act>, pleasantly told " — Day Hook, 

•• Thtt courses comoisDdcd must end iu tuccos3."~F/a^ of Our Union. 



r 



JESSE HANEY & CO., 119 NASSAU STREET, NEW YORK, 

Will seuJ, post paid, on receipt of price, any of the followinff Oood Books,, or 
they umy lie ordered through any bookseller or newsdealer. 

Guide to Authorship. — A practiciil iiistnictor in ;ill kinds of 

literary <-ouij'U.sition, J'rose and verse, with all kinds of useful iuforination on such 
)>'>iiits £9 writers, wheiher experienced or not. generally desire assistance. It in- 
cludes punctuation, proof-reading, editing, preparation of MS., and its value and 
disposal, copyrights aud customs iu tlie trade, publisLiing and estimates for getting 
up books, pamphlets, sheet music, &e., Trith a vast amount of sensible and valuable 
inform.'itioti. jugt v.-h&t ■;\'r;ter3 v.-ant. and will save them time and money, to be had 
nov.-here cise. Enlarged and revised. Cloth, 81. OG ; paper covers, 50 cts. 

Phonographic Handbook. — An entirely new work fcr self-in- 
struction in the modsiu iinpro\H;d system, used by practical reporters in the courts 
of law and on the newepapeis. It uuites simpliciiy with thoroughness. >i5 cts. 

Secrets "Wos'tli Knowing. — A guide to the xnanufacturo of 

hundreds of useful uuJ Balable articles, including patent niedioines, perfumery, 
toilet and dental articles, and many others easily made at triHing cost and selling 
readily at large profits, with many manufacturers' secrets, ice. ^J» cts. 

Rogues and Hogueries. — An exposure of the enures and pitfalls 

of the great metropolis, and the multitude of devices for entrappintr the unwary, 
including many of the operations practiced in other cities, and swindles tlirouali ilie 
mail. New, revised, and enlarged, illustrated edition now ready and selling by 
thousands. An intei-estiug as wellas instructive book. Js5 cts. 

Watchmakers' and Jewelers' Manual. — Giving tbe latest and 

most approved secrets of the trade, embracing watch Hud clock cleaning and lejiuir- 
Ing, tempering in all its grades, making tools, compounding metals, soldering, jjlat- 
iiig, &c., viith plain instructioi.s for beginners, ice. '-io cts. 

Painters' Manual. — Giving best methods and latest niprove- 

ments ia house painting, sign painting, graining, varnishing, polishing, staining, 
gilding, glazing, silvering, Cirecian oil-painting, Chinese jiaintnig. Oriental painting. 
Sif. Also, principles of glass staining, harmony and t:outrastof i-olors, with jihiloso- 
phy, tiieories and practices of color, &c., &e. jO ct.^. 

Horse Shoers' Manual. — Giving plain, praetical directions with 

niimerous illustrative engraving.^. Includes preparation of foot, choice of shoes and 
their preparation, fitting, filinjr, nails and nailing, shoeing with leathei', cutting, 
removing, dec, ice. Contains much that every horse owner should know. «•> cts. 

Soap Makers' Manual. — A practical instructor in the nianufac 

lure ot plain and fancy .soaps, hard and soft soajis, washing fluids, medicinal soaps, 
die. for the guidance of families and manufacturers. Has e.\pi«ures of the adidtei - 
at'iocs practiced, and illustrations of most ai>proved machintry for those desiring to 
operate iiie,li..m sized soap works. Has the best English, French and German for- 
mulas. 35 cts. 

.Bad Memory Made Good and a Good Made Better.— 

iSLows how a wonderful power of memory ujay be acqui red by a simple art, readily 
learned and enabling its )iossessorto achieve feais inconi]irelienslbleto tho.se ignoran* 
of the secret. It will be of great assistance to teachers, pupils, and professional men 
peneially. Clergymen and speakers will .•;ave much time by itschapteron Speaking 
\Vithout" Notes, a.s will students preparing for examination. I't cts. 

Wightside of New York. — This i.s th(^ hook after which the 

coBtl\- subscrijition books, treating of New York, are moileled. It gives about all the 
really interesting matter to be found in these books. To those curious to know how 
the great city looks and acts after the lamjis are lighted, this book will prove highly 
interesting-. Sensational but truthful. Illustrated. /J5 cts. 

Home Recreations. — A collection of amusing games, pleasant 

diversions aiul otlier entertaining matters for juvenile parties, or the home circle. It 
sLovfS the young peojile liow to amuse themselves and young companions. ^-^ cts. 

Handbook of Ventriloquism.— A little work explaining all the 

m>slerics and really teaching the art. Also tells how lo make the Magic "Whistle for 
imitating birds, animals, &c. 15 cts. 

» Comicalities, by Orpheus C. Kerr.— A capital work by tliis 

very popular American humorist. 150 illustrations. >»5 cts. 



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